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Commnual 

A. R.T 



T-H£ SOUT-HWtST PRESS 

DALLAS-TEXAS 






















Copyright, 1930 
THE SOUTHWEST PRESS 


©CIA 


30795 


TO 


MARY ALMEDA and BARBARA ANN 




PREFACE 


It is the desire of the author that this book will be 
of assistance, not only to the Art Student in solving 
the many problems which confront him when entering 
the field of Commercial Art, but that it will be of 
equal value to all those who are buyers of Commercial 
Art, advertising, advertising printing, engraving and 
color reproduction. This is not a book dealing with the 
elements of drawing nor is it a treatise on “how to 
draw/ 7 except as applied to the technique and pro¬ 
cedure used for reproductive purposes. Many excel¬ 
lent books are available treating of the subjects of ele¬ 
mentary drawing, perspective, composition, lettering, 
advertising, etc., but the number of practical books on 
the essentials of Commercial Art, or drawing for 
reproduction, are very limited. 

The need for a practical book on this subject has 
been keenly felt during the many years the author has 
spent in this profession. This need is further evi¬ 
denced by contact with the younger members of his 
staff with their problems, and the increasing number of 
Art Students who visit his studio yearly seeking prac¬ 
tical information, which was not available in books 
that they already possessed. 

The author has attempted to explain fully and in 
detail the fundamental principles of drawing for 

W 


PREFACE 


reproduction, how to sell, and the many time-saving 
methods that maiy be used successfully. He assumes 
that the reader has received, or is now receiving, art 
instruction, and now wishes to gain the additional 
knowledge necessary to successfully enter the pro¬ 
fession. 

His sincere appreciation is acknowledged to the 
members of his staff, and to many friends, for their 
valuable assistance in this work. 


Dallas, 1930. 


G. F. c. 


CONTENTS 


PART PAGE 

I. Commercial Art as a Profession ..... 3 

II. The Customer’s Viewpoint; Your Profit . .21 

III. Selling Your Art through Proper Presenta¬ 

tion ......... 31 

IV. A nalyze Your Problem for a Definite Pur¬ 

pose .43 

V. Layout and Its Importance ..... 59 

VI. Suitable Technique for a Definite Purpose . 71 

VII. Hand Lettering and Its Value . . . .101 

VIII. Be n Day Shading Process ..... 107 

IX. Co mmercial Engravings; The Line Etching 

and Half-tone . . . . . . . 117 

X. Drawing for Color Reproduction . . . 137 

Glossary of Words and Terms Used in the 
Photo-engraving Business .... 172 

































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onirnercith 


ART 







- 



























































PART I 
Commercial 

ART as a 
Profession 









In this age of intensive advertising the properly 
qualified and sincere art student could hardly hope to 
find a more pleasant occupation or profession than that 
of commercial art. In magazines, newspapers, direct- 
by-mail campaigns, or in almost any media wherein the 
printed word is used there will be found a picture. A 
picture in a few lines will tell a story that would 
require many pages of the printed word. Visualizing 
the message in part, the picture punctuates and em¬ 
phasizes, creating an atmosphere at a glance. Pictures 
are the universal language, and constitute a field of 
almost unlimited expression. 

Commercial art offers an opportunity to the enter¬ 
prising art student to capitalize his talent to its fullest 
extent. Because he is drawing or painting commer¬ 
cially should not hinder him in his ability to express 
himself on paper or canvas. Moreover, the elements 
of commercialism, when recognized and adhered 
to, will prove a constructive agent in his devel¬ 
opment as an artist. The standard of quality and 
usefulness of his work is not measured through its 
artistry alone, but demands many other equally im¬ 
portant factors. Years of actual experience alone can 
give the student a clear conception of his responsi¬ 
bilities. 


[5l 


COMMERCIAL ART 





Fig. i. Pen and Brush Lines. 


The basis of illustration for conimercial use , especially in 
newspapers , is the line. The importance of properly made lines 
cannot be impressed too strongly upon the student. 

Above are shown several treatments of the line for tone and 
texture. Many artists choose to use a small fine pointed brush 
as a substitute for the pen. The brush , when used successfully 
in this manner } affords a very free technique. It permits strokes 
of varying size with only a slight pressure. The student will 
find the brush very valuable when a “ sketchy” result is required. 

In any event the line whether made with a pen or brush must 
be strong in color , as weak uncertain lines do not reproduce sat¬ 
isfactorily. 


rs/^ 


[6] 






































































































COMMERCIAL ART AS A PROFESSION 


Commercial art, successfully applied, is a serious 
business. It deals not only with the making of pictures, 
but in most cases is the handmaiden to salesmanship. 
It is necessary that the student make an exhaustive 
study of many elements foreign to art in order that his 
efforts measure up to the expectation of his customer. 
Do not feel discouraged upon discovering the myriads 
of details to be coped with, for you will find it, 
undoubtedly, a most interesting experience. 

In this treatise let it be understood that it is not the 
intention of the writer to undertake the teaching of art, 
but rather to augment such instruction as the student 
is now receiving, or has received, with the solution of 
many of the perplexing problems that arise when work¬ 
ing commercially. The greatest difficulty you will 
encounter in drawing commercially is that of reproduc¬ 
tion. By reproduction is meant the mechanical process 
through which your drawing must pass before it finally 
becomes the printed picture. The different stages, 
when properly planned and executed, fit together per¬ 
fectly, but one misstep invariably leads to unsatisfac¬ 
tory results. 

Different kinds of printing papers require certain 
types of engraving, and the mechanical limitations to 
be forever reckoned with demand a thorough knowl¬ 
edge of the subject. However, the inventive genius of 
the artist will allow him great latitude in his work, 
once he understands the process. There are many 
lessons to be learned regarding reproduction that can 
C7] 


COMMERCIAL ART 



Fig. 2. Crayon on Various Paper Surfaces. 

The above chart shows the grease crayon or lithographic crayon 
on papers of different textures. The success of etching this type 
of work rests almost wholly with the paper upon which the zcork 
is done. Very rough papers permit great reduction while others 
not so rough allow less. In working in this medium, a paper must 
be used that has a texture, to allow contrast of white against black. 
Try the grease crayon on various papers and note the result. 
Remember, your drawing must be pure black with no weak grey 
tones. 


[8] 




















COMMERCIAL ART AS A PROFESSION 

be taught only through experience and it is well to 
heed them and profit by them. 

It is suggested that the student visit in person if 
possible an engraving plant, a printing establishment, 
and a newspaper press room and see for himself whv 
this seemingly unimportant detail of reproduction is 
the prime factor in his success. In the first place, there 
are many media in which you may render your draw¬ 
ings, and you may select the one best adapted to the 
subject in hand, but if you have failed to take into con¬ 
sideration the further steps of reproduction your draw¬ 
ing as a finished product may be a total failure. 

A commercial drawing, it must be remembered, is 
but a means to an end. Its purpose is not for it to be 
framed and exhibited, but rather it is a unit in most 
cases among other units made up of type, ink, paper 
and press work, all of which must be in perfect har¬ 
mony with each other, to permit of best results. There 
are times when a customer, through ignorance of these 
facts, will insist upon a specified style and type of 
drawing, and, upon endeavoring to use it in the 
manner he intended, will meet with failure in the final 
result. It is the duty of the commercial artist in cases 
of this kind to be prepared to show him wherein he is 
wrong, and at the same time to recommend the correct 
procedure. 

If you were commissioned to draw or paint a pic¬ 
ture for exhibition purposes only, and the reproductive 
qualities were not to be considered, then the customer 
C9] 


COMMERCIAL ART 



Fig. 3. Dry Brush. 

Dry brush is related to both pen and crayon , allows solids with 
graduation , by use of brush , not too heavily charged with ink , so 
that in passing the brush over the rough paper , its ink stains the 
highpoints without covering the entire surface. Dry brush prop - 
erly made is an ideal medium for reproduction of t)ie etching , as it 
is strong and forceful , even after reduction, due to the employment 
of solids and strong highlights. Work for masses and values 
rather than for fine detail. 








COMMERCIAL ART AS A PROFESSION 


viewing the finished product would be thoroughly ca¬ 
pable of judging its successful rendition, but in commer¬ 
cial work you will find that a large percentage of your 
customers have no conception of reproductive proc¬ 
esses, and must be carefully guarded against their own 
errors due to lack of familiarity with such details. If 
you do not adhere to this rule you will find that it 
works greatly to your disadvantage, as you may readily 
see and understand. 

In the production of commercial art many indi¬ 
viduals and mechanical processes must be taken into 
consideration. The artist must bear in mind the view¬ 
point of the reader, the requirements of the customers 
and the mechanical limitation of the printing and en¬ 
graving processes, and last but not least by any means 
is the element of time given the artist to produce his 
work. 

If you, as an artist, decided to paint a picture of 
some subject that had inspired you, and would set 
about with a will to do it, but after you had started 
and some element of interference presented itself you 
might lay aside your picture partially finished and 
pick it up at some later time when you were again 
inspired. Not so in commercial art. For some un¬ 
known reason most illustrations used commercially 
are ordered from the artist at the eleventh hour, and 
one of the common phrases that every customer buying 
commercial art seems to know is, ‘I want this just as 
soon as possible.” At the same time he expects the very 
[i0 


COMMERCIAL ART 



Fig. 4. Illustrating Charts 
1, 2, 3, Reduced One Half. 

Showing the effect of more 
than one-half reduction of 
Charts 1, 2 and 3. Notice how , 
in Chart 1, some of the speci¬ 
mens have a tendency to fill up , 
due to insufficient white space 
betzveen lines , while others stand 
reduction without serious effect. 
Chart 2, that of crayon on rough 
paper , is most sensitive in great 
reductions , when made on too 
fine grained paper , while the 
drawings made on coarse paper 
hold their tones perfectly. Note 
soine spaces entirely filled due 
to this too great reduction. 
Chart 3 shows the effect of the 
dry brush technique. While the 
dry brush is affected very much 
the. same as crayon and depends 
largely upon the texture of the 
paper , yet due to its positive 
black-and-white effect usually it 
yields to a much better reduc¬ 
tion than crayon. This may be 
due to the fact that the medium 
of dry brush is worked more in 
strong contrasts with very little 
effort at middle tones. Middle 
tones are the ones that cause 
trouble in reduction. 


[ 12 ] 





























COMMERCIAL ART AS A PROFESSION 




*r 




§=sf 

1WW 


1 


Fig. 5. Miniature Roughs. 

Make your first preliminary drawings on a s?nall scale; they 
require less time_ and the limited space does not tempt the em¬ 
ployment of detail. Miniature roughs assist in studying general 
form and arrangement of the units of the advertisement. They 
will help you to perfect balance, proportion, and to clarify the 
general procedure. Each of the four miniature roughs shown 
above was the first step toward visualizing a full-page news¬ 
paper layout. The size reproduced above is the actual size of 
the original sketch. 


[13} 






































COMMERCIAL ART 



After the miniature rough has been completed and the loca¬ 
tion of each unit of the advertisement decided upon, it is next 
in order to turn your attention to the detail of the units them¬ 
selves and prepare what is known as a “finished rough .” Above 
is shown a “finished rough” of an illustration. In this the loca¬ 
tion of furniture and fixtures is arranged with an idea of com¬ 
position, taking into consideration highlights and shadows. A 
certain amount of detail should be employed, yet, masses are 
still to be kept well in mind. A “finished rough ” of the above 
type is usually sufficient to submit to the customer as a prelim¬ 
inary to the finished drawing. 


Fig. 6. Finished Rough. 










COMMERCIAL ART AS A PROFESSION 


best work you can produce. Remember, he is a commer¬ 
cial man; he is not familiar with any artists' moods, for 
to him they seem to be quite unnecessary. Therefore, 
one of the first things the artist working commercially 
must do is to attune his temperament to his routine 
duties. After all, there is a logical reason for this rush, 
for your customer, after deciding that through the use 
of your product he can increase his sales or accomplish 
his purpose, is very anxious to reap such benefit as he 
may expect at the very earliest possible moment. 
Again, your work may be a part of an advertisement 
that will appear in an edition of some newspaper or 
magazine which demands that the work be in the hands 
ot the printer at a certain date in order that the edition 
will not be delayed. There are many reasons why the 
advertiser should demand from you what may seem to 
you to be an impossibility, but after all, remember you 
are working commercially; you must be a part of the 
machine, so to speak, that will sell his goods. You are 
a cog in the wheel, and you must not fail your customer 
if you expect to serve him further. Give him the best 
you have. Enter into the thing as you would into a 
game. 

Show spirit, enthusiasm and never impatience, for 
when you allow yourself to become impatient you are 
doing yourself a great wrong. You may really reap a 
benefit in cases requiring haste for it will teach you to 
work fast and think fast, and speed combined with skill 
makes for a better quality of work. Don't misunder- 
[ 15 ] 


COMMERCIAL ART 



Fig. 7. Combination of Free Line and Straight Line. 

Combining the straight line with the free line coincident 
with the subject. The vertical line being the accent in this 
building , it is aided and emphasized by the use of the free line 
in the sky. The heavy horizontal line of the busy street also 
adds to the vertical feeling of the building. Further height is 
attained by the open-sky effect back of the tower , allowing it to 
reach up without interference. Notice how the drawing sug¬ 
gests a straight border treatment on all four sides and seems to 
be enclosed within a rectangle , yet it has no border lines , but 
on the contrary has a greater amount of white space than it 
docs black definition - 

















COMMERCIAL ART AS A PROFESSION 



Fig. 8. Balance. 

Notice the informal balance of the fireplace, hanging light 
fixtures , doorway and chest. This group is emphasized by a 
general highlight surrounded by various other darker objects of 
the room fori?iing a boundary for the sketch. 

Rendered in pen with free lines of cojnparatively equal size 
but of varied arrangement and direction. 


[17] 


COMMERCIAL ART 

stand the term “speed”; this does not mean hurry. 
Speed as applied in drawing pictures means the 
elimination of all unnecessary motion. It means that 
you must know what you are going to draw and then 
draw it with the least possible effort, but “hurry” 
means that you become flustered, and no matter how 
long you work on the picture it will never be what it 
should be. Speed and quality can be obtained only by 
absolute concentration upon the subject in hand. 
There is no time to putter about and peck around for 
the inspiration. The artist will learn to quicken his 
mind, shorten his methods, make quick decisions and in 
this way allow himself the greatest possible length of 
time for any necessary painstaking details that should 
be accomplished in a careful manner. The writer, out 
of his practice, wishes to assure you that the nerve- 
racking strain of doing what seems to be the impossible 
in the short length of time allowed, affords upon the 
completion of the task one of the great thrills to be 
enjoyed, and one of the finest confidence-building 
agents possible. The next task you undertake will 
seem to be easier. Try it for yourself and see if it is not 
a fact. You will do it more easily and in a shorter 
length of time. There is something of the nature of a 
game well played that one experiences upon deliver¬ 
ing the completed piece of work at the specified time, 
or before. It makes no difference whether the customer 
appreciates the fact that you have put forth every 
effort possible; you can rest assured, however, that he 
[18] 


COMMERCIAL ART AS A PROFESSION 


does appreciate the fact that you have delivered it to 
him on time and have not slighted it in the least. You 
may reasonably expect to receive his next piece of 
work as a result of your promptness. 

Bear in mind that sometimes your customer wait¬ 
ing for some very insignificant piece of work that you 
are doing will be inconvenienced to the extent that his 
entire advertising campaign will be interfered with if 
you are late in your delivery. Customers do not relish 
this sort of treatment. 

After all, in the final analysis the difference be¬ 
tween art and commercial art is very simple. In fine art 
you draw what you choose and draw it in the manner 
most acceptable to you, but in commercial art you must 
choose what is acceptable to the customer and the pub¬ 
lic and draw it in a manner which will reproduce to its 
best advantage in the publication in which it is to 
appear. This may seem to you to be a great handicap 
in expressing yourself, but after a time when you have 
acquainted yourself with the so-called implements and 
tools of the profession you will, with no apparent 
effort, be able to adjust yourself to the requirements 
and find the same joy of expression in your work. 


[19] 


























■ 























* 

















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I 



























* 








* 










































PART II 
The Customer’s 
Viewpoint ? ? 
Your Profit 






Always remember that the customer must be 
pleased. He is the purchaser of your art. Without the j 
customer you cannot be a commercial artist. Bear this 
in mind. The customer must be reckoned with in more 
ways than one. At the same time his likes and dislikes 
and seemingly unreasonable requirements will discour¬ 
age you beyond words if you refuse to accept commer¬ 
cialism as a factor in your work. By the term “com¬ 
mercialism” is not necessarily meant mercenary desire, 
yet it is a factor to be kept in view. It means that you 
must accept the ideas of the world of commerce and 
incorporate them into your drawings. Your customer 
is not an artist, and does not have the viewpoint of an 
artist. If he were, you would not be drawing pictures 
for him. He is a business man, a merchant, a manu¬ 
facturer, a jobber or salesman. Give him credit for 
knowing his business as you know yours, or even better. 

Now this customer has come to you with a specific 
idea in his mind as to what he wants. It is true that 
many times his idea will be very vague. It is your 
business to assist him in working out the details, formu¬ 
lating a complete picture. You must try to work with 
him, try to understand his problem and the thought 
which he wishes to illustrate. As a preliminary it is 
far better in most cases to find out what thought he 
wishes illustrated, why he wants it done and how it 
will finally be used, rather than ask him to try to give 

[23] 


COMMERCIAL ART 



Fig. 9. The Free Stroke. 

The police dog as a subject illustrates the use of a free stroke 
of varying size , very loosely handled. This technique is well 
suited to the subject due to the texture of his coat. Rather 
than a hard outline of a single stroke you will notice the com¬ 
bination of many fine, lines. Danger of overworking a drawing 
in a subject of this sort is great; strong highlights and heavy 
shadows should prevail with the feel of the hairy texture out¬ 
standing in both. This is an example where the filling up 
between lines , to form a solid , is an advantage rather than a 
calamity, as it provides a solid or near solid with depth and 
tone. 


[24] 


THE CUSTOMER S VIEWPOINT 

you an outline of the picture itself. School yourself to 
think in his realm, take the responsibility on your shoul¬ 
ders for the part that you will play in the successful sale 
of his product. Think how you would present this 
problem to your customer if it were yours. Forget for 
the moment that you are a commercial artist. Study the 
situation. Talk to your customer and listen to him. 
Be a better listener than talker. You will be of more 
value to your customer. You will find that close 
attention to his requirements will develop an idea in 
your mind. Be sure that the idea is clear and prac¬ 
tical before you present it to him. If it is too im¬ 
practical he will lose confidence in your ability to help 
him and will forever be skeptical of other ideas you 
may present, no matter how much better they may be. 
Don’t be afraid to criticize your own ideas. Remember; 
ideas are both good and bad and the larger percent¬ 
age of ideas that come will not stand the test. Good 
practical ideas have a habit of inspiring the artist to 
such an extent that he immediately realizes that he 
has “hit the nail on the head,” so to speak. Your cus¬ 
tomer will be the best judge of whether an idea is right 
or wrong and you must respect his judgment. Too 
many times the customer will order a drawing made, 
without indicating to the artist for what purpose he 
intends to use it. His idea and explanation of what he 
wants may be so clear that the artist feels it unneces¬ 
sary to go into the details further for the completion 
of the drawing. The drawing when completed may be 

C25] 


COMMERCIAL ART 



Fig. 10. Outlining, by Use of Free-Hand Straight Line. 

The above illustration demonstrates the use of the free-hand 
straight line used as a means of outlining , in the most part , 
rather than modeling the subject. This open-line treatment 
affords good reproductive possibilities. Also , in this example 
is shown how a subject may be treated to draw the attention 
directly to one spot , allowing the outer margins of the picture 
to “slip off ” into atmosphere. 


[26] 

























THE CUSTOMER S VIEWPOINT 

without fault. It is well drawn, well balanced and 
apparently satisfactory in itself. Then it is taken out 
of your hands and incorporated within a layout of 
type, border, signatures and other units of which you 
had no knowledge, and the ultimate result of the com¬ 
pleted layout as an advertisement may be very disap¬ 
pointing to the customer because of the lack of unity 
and balance. If you had known in the beginning what 
use he intended for the drawing you most probably 
would have handled the situation in a different way, 
thereby rendering a service to your customer and to 
yourself at the same time. Regardless of why your 
drawing does not measure up to the given standard, 
you as the artist usually will have to bear the brunt 
of the blame. Consequently it is always very impor¬ 
tant that the artist should have at least some concep¬ 
tion of the use to which his work will be put in order 
that he may more closely work with his customer. Only 
many years of constant contact with the art-buying 
public will impress upon you that a commercial draw¬ 
ing is only a means to an end. It is but one of the 
many elements that go to make up a successful print 
job or advertisement and must be made with that fact 
in view. Your customer must be made to realize this, 
for a great many times he will unwittingly direct you 
to make your drawing after a certain fashion which, 
as far as the drawing alone is concerned, is acceptable, 
but from the standpoint of the advertisement in its 
entirety would prove to be a failure. 

C27] 


COMMERCIAL ART 



Fig. n. Treating the Subject in Part. 

Frequently you will be called upon to draw a portion of a 
building , allowing the remainder to, slip off into suggestion. 
This can be done by accenting a certain part and allowing the 
detail to become less co7nmanding as it is further removed from 
the accent,. Study the manner in which the windows finally dis¬ 
appear. This line illustration also shows a style of fine line 
handling with enough solids to add character. 


[28} 










THE CUSTOMER’S VIEWPOINT 














COMMERCIAL ART 


The student, in the absence of a customer, should 
create in his mind an imaginary customer and decide 
in this imaginary customer’s mind a definite re¬ 
quirement which he as the artist should follow. No 
other element will tend to develop his facility to per¬ 
form properly and accomplish the required end. This 
idea of the imaginary customer is nothing more or less 
than a means of establishing a fixed purpose for a di¬ 
rect line of reasoning, or a certain specific end in view 
to be reached by the artist. As the student progresses 
and receives commissions in the commercial field he 
will learn for himself many more things about this 
individual, the customer. 


PART III 
Selling your Art 
through proper 

Presentation 





















































































* 


































































* 






























































The beginner in the field of Commercial Art is 
always at a loss to know how to sell his drawings. 
Many years have passed since the writer faced that 
problem and most of the difficulties he had at that time 
remain indelibly imprinted upon his memory. Yet 
the same fundamentals of selling are still adhered to 
by him. 

Your drawings arc your salesmen . Many artists 
have the mistaken idea that art can be sold only 
through some “high-powered” method. That is all 
wrong. Art is sold in exactly the same manner as any 
other commodity, and it must stand on its own merit. 

When a salesman comes to you to sell some article, 
his success depends upon his ability to get your un¬ 
divided attention and in presenting his article in such 
a manner that you feel the urge to buy it. When your 
“salesman,” which is your drawing , goes to your pros¬ 
pect, the same procedure applies. 

For example: Assume your prospect is in some 
particular line of business. You desire to make a 
drawing or a series of drawings for him. Now the 
question is, “How can you secure his work*?” The 
beginner, through inexperience with art buyers, 
usually handicaps himself by improper approach and 
presentation. He invariably takes his portfolio under 
his arm and seeks out his prospect with an idea of 
impressing his ability as an artist upon the prospect. 

[ 33 ] 


COMMERCIAL ART 



Fig. 13. Outline and Shading in Pen. 

Type of pen line especially suitable for historical illustra¬ 
tion . Carefully and conventionally detailed with no effort 
toward individual style. 



A type of illustration in harmony with the subject , light and 
airy , allowing the imagination of the reader much latitude. 
















SELLING YOUR ART 

He does this by displaying a varied collection of draw¬ 
ings both good and bad and in most cases subjects in 
which the particular prospect is not interested, or 
which have no bearing on his business. 

Buyers of commercial art realize that an artist 
may be capable of excellent work in some lines, and 
yet in others he may prove a total failure. This fact 
is one reason why the artist should have examples 
of the specific type of work he wishes to sell. An¬ 
other reason is that your prospect is a busy man and 
his interest in your work can only be aroused by show¬ 
ing him drawings that are of value to him in his par¬ 
ticular business. 

If you doubt this statement, prove it to yourself in 
this way: Prepare several drawings—they must be 
good ones—of subjects directly related to the business 
of your prospect and add them to your portfolio. 
Watch your prospect thumb through the collection, and 
notice the revival of interest he shows as he turns to 
a sketch in his line. You have gained his attention, 
he is interested. Your sketches are speaking to him; 
now what are they saying? Good or bad, this is the 
crucial moment when judgment is being passed. At 
this point sales are made or lost. Be sure you have 
done everything in your power to fortify your “sales¬ 
man / 5 All the encouraging things you might say about 
your drawing at this time will avail you nothing. Your 
prospect is not interested in you, his interest is in your 
drawing, it must speak to him. It must speak to him in 

[ 35 ] 


COMMERCIAL ART 



Fig. 15. 


Fig. 15 is similar to Fig. 11 except that in this case the 
mterest is centered at the top while in Fig. 11 it is the reverse. 
This drawing was made the actual size of the reproduction 
shown here. A crow quill pen was used. 


[36] 





















SELLING YOUR ART 


more ways than one. It must assure him of its ability 
to sell his merchandise, it must reflect its good drafts¬ 
manship, its adaptability for mechanical plate-making 
processes, and must fulfil many other requirements. 

The sum and total of this incident is this: If you 
wish to sell a prospect, do not show him a collection of 
drawings he is not interested in, get down to the point 
and talk in his language. Let him see what you can 
do in his particular line; then you will get results. 

You may say, “I have no drawings to show him for 
I have not been called upon before for that character of 
work/’ Then it would be a good idea for you to invest 
some of your own time and make up a few samples, as 
“salesmen.” When you have completed them, you are 
then better prepared to reach your goal, provided your 
subjects are well drawn. 

The proper presentation of the drawing to the cus¬ 
tomer is very important. Assume you have completed 
a drawing or sketch which you wish to sell. Make sure 
that aside from its merits as a good drawing it em¬ 
bodies the following requirements: The white margin 
should be absolutely clean and free from smudge. It 
must be trimmed with square sharp corners and edges; 
if possible there should be a slightly larger margin of 
white at the bottom than at the top and on either side. 
It should have a tissue paper flap or cover to protect its 
surface, and over this should be a flap of a more dur¬ 
able material,. The tissue flap, which is semi-trans¬ 
parent, permits the customer to make notations or cor- 
[ 37 ] 


COMMERCIAL ART 





'« *t ! !J H 


a.?! 


-fAlw- 


Fig. 16. Group Mass. Original io"x 10". 

In a great many instances, the. use of only a few lines is 
inestimable. A complicated subject is more effectively handled 
by forcing its accents and drawing the remainder in a very sug¬ 
gestive style. In the illustration above , you see an informal 
group mass , outlined in a very simple manner. The major and 
minor accents have been allowed their relative amount of atten¬ 
tion value and the entire composition is held together with 
enough atmosphere to guide the observer in completing the pic¬ 
ture in his mind. Original drawing was twice this size. 


[38] 



























SELLING YOUR ART 


rections concerning certain parts without working on 
the drawing. Never fold or roll a drawing—deliver it 
flat. A folded or rolled drawing is hard for the cus¬ 
tomer to handle, and irritates him. Use every precau¬ 
tion possible to make inspection easy and pleasant. It 
pays big dividends. 

If you have a series of drawings to be presented at 
the same time, establish a uniform page size and let 
each conform even though one drawing be much 
smaller than the others; it means just that much addi¬ 
tional white space around it. 

Always before approaching a customer for the first 
time you should be thoroughly conversant with his 
business, methods, type of advertising and other con¬ 
siderations. Any sketches you propose for him should 
be in harmony with this program. You may have been 
an observer of his advertising for some time and feel 
that you have an idea totally different from his. This 
is the time to analyze his business requirements, and 
fortify yourself with logical reasons for the change you 
present. If your arguments are well founded and 
sound, and your sketches attractive enough, you will, 
in most cases, receive favorable attention and ulti¬ 
mately get his work, even though in the end it may be 
entirely different from the sketches you submitted. 
Your customer is always trying to improve his methods 
and welcomes good selling ideas. 

The matter of the price you get for your drawings 
is another problem to face. You have never bought or 

[ 39 ] 


COMMERCIAL ART 



Fig. 17. Original Drawing 5" x 4". 



Fig. 18. Composition. Original Drawing 4" x 4^". 

[40] 










SELLING YOUR ART 


sold any drawings, consequently your knowledge of 
their worth is meager. You may have an idea of what 
each should cost the customer but it is all guess-work 
with you. You should know that commercial art has 
its market-price just like other commodities. The 
price-range is governed by the customer’s ability to 
purchase the same character of drawing from some one 
else for a specified amount. 

For example: Let us say a certain artist special¬ 
izes in drawing shoes, due to his or her ability to pro¬ 
duce good work in this line with little effort. This 
specialist has become very proficient in producing this 
character of drawing. He can produce the best result 
in the shortest time, consequently providing a large 
volume of work along a specialized line. His price 
even though very reasonable to the customer gives him 
a greater profit because of his speed than is possible to 
the beginner who labors many times as long on the 
same drawing. While the beginner produces one 
mediocre drawing the specialist turns out many high- 
grade ones in the same length of time. This is why the 
beginner must exercise much patience and endurance 
at the start and let the monetary angle work itself out 
in its own way. 

It matters not how long you have studied art, nor 
how you have gained your knowledge, in the commer¬ 
cial world there is but one thing that interests your 
buyer, and that is the specific drawing he buys from 
you. It must be the incarnation of your whole-hearted 

C41] 


COMMERCIAL ART 


ability. The buyer sits as a judge upon the bench and 
his decision is final. Do not try to force him to accept 
something he does not want by telling him its good 
points. If those points in the drawing are not out¬ 
standing enough to speak for themselves, better start 
over, and make a new drawing. 

The keynote in selling your art successfully is to 
consider your customer as well as your art. You need 
not be a salesman if your pictures are right. However, 
salesmanship helps you to incorporate selling force 
into your drawings, and to make them worthy. 


PART IV 

Analyze your 
Problem for a 
Definite Purpose 





















































































When working commercially, making drawings 
for advertising purposes, you are, so to speak, upon the 
sales force of your customer. You in turn will be of 
assistance to him and your services will be valuable in 
proportion to the amount of sales-strength your illus¬ 
tration carries. The sales-manager employs salesmen 
to sell his wares. He trains them to speak in the inti¬ 
mate terms of the product they are to sell. They must 
know his sales-angles before they are fully fitted to 
perform for him. Likewise, you, as an artist drawing 
pictures of his product or illustrations relative to the 
selling-angles he has formulated, must be well in¬ 
formed regarding his problems and general program of 
procedure. Only with a comprehensive knowledge of 
the facts in hand can you enter into the spirit of his 
selling motives. You as a student, no doubt, are so 
engrossed in the interesting subject of art and of creat¬ 
ing drawings and designs that it seems a form of pas¬ 
time or diversion, but in drawing commercially you 
must be aware of the fact that each drawing should be 
considered seriously. Those drawings are not merely 
the result of an idle pastime but must be the incarna¬ 
tion of every ounce of endeavor you possess to tell the 
picture story to the reader public. Heretofore, in mak¬ 
ing sketches of various subjects, it was up to your de¬ 
cision whether the drawing had merit and deserved to 
[45l 


COMMERCIAL ART 



Drawing Photograph 

Fig. 19. Fig. 20. 

Drawing Over Silverprints. 


You will find the silver print process quite a time saver, in 
cases of reproducing photographs as pen drawings. Figure 20 
shows a reproduction of a photograph, and Figure 19 the pen 
drawing made from it. The result is accomplished in this man¬ 
ner: From the photograph, the engraver makes a silver print, 
which is a photographic copy on drawing paper; the artist then 
7 nakes his drawing directly on the silverprint working over the 
copy with waterproof drawing ink. After a sufficient amount 
of detail is drawn, the print is sent to the engraver to he 
bleached and dried. After bleaching it appears as a black-and- 
white drawing on white paper. The drawing is then completed 
and refined in detail where desired, in the same manner as if 
originally started on white paper. 


[46] 













ANALYZE YOUR PROBLEM 


be exhibited, whether it was to be left in your portfolio 
or thrown into the waste basket. Now, you are enter¬ 
ing into a field where every picture you make and sell 
is intended to be reproduced, and viewed by thousands 
of people. It is your duty to study these people as you 
see them, to learn their viewpoints, and then to work 
accordingly. 

The newspaper, in which medium your first efforts 
will probably appear, has its definite limitations be¬ 
cause of the inferior quality of paper on which news¬ 
papers are printed. The wash drawings, or shaded 
drawings in any medium except when handled very 
skillfully with a thorough knowledge of the mechanics 
of engraving, yield doubtful results in news print. 
This allows you the latitude of the black-and-white 
pen line, the etched crayon drawing, dry brush or line 
and Ben Day shading process. Each of these different 
processes will be taken up in detail, and their possibili¬ 
ties and impossibilities explained later. 

Due to the many mechanical stages through which 
your drawing must pass before it appears in the printed 
form it will, if improperly made, lose a great deal of 
its original quality. The student will greatly increase 
his versatility by carefully inspecting various news¬ 
paper illustrations with the idea of analyzing just how 
the original drawing was made. In the analysis try to 
discover why that subject was chosen, what was the 
motive back of the illustration that prompted it. Give 
some thought to the artists’ reason in selecting the 
[47] 


COMMERCIAL ART 



Fig. 21. Centralized Interest. 


Simplify your composition and centralize the interest. Make 
each stroke count , and allow the white paper to play its part in 
your plan. 


[48] 


ANALYZE YOUR PROBLEM 


medium of handling; that is, whether it is a line draw¬ 
ing, crayon, etc., and whether it is a zinc etching or a 
half-tone. All of these things will familiarize you with 
the manner of handling your work under the same re¬ 
quirements. Magazine illustrations, if produced on 
high-class paper, afford a greater latitude for expres¬ 
sion than the newspaper. Many magazines of today 
will permit of the use of half-tone with a screen as fine 
as 150 lines to the inch. This will permit the use of 
wash drawings as well as line drawings, or as a matter 
of fact almost any medium you desire to work in. 
Drawings made for half-tone reproduction will admit 
of a much more delicate handling than those requiring 
the zinc etching plate for reproduction. It is safe to say 
that drawing for newspaper reproduction demands a 
much broader and heavier treatment, because of the 
blackness and density of the surrounding advertise¬ 
ments. Frequently in a newspaper you will find an 
illustration of a very few and fine lines, the entire 
treatment being very light; but at the same time the 
successful advertisement bearing this treatment also 
carries a wealth of white space around the illustration, 
separating it entirely from the surrounding inter¬ 
ference. 

Let us assume that you are to make a drawing, to 
illustrate an advertisement. First, consider some of the 
following angles: Why does your customer want a 
drawing? How will a drawing help him in his adver¬ 
tising? What would be the logical subject for an 
[49] 


COMMERCIAL ART 



In the drawing of a complicated subject, as the above , care 
must be exercised to simplify your technique and. avoid unneces¬ 
sary lines. Each object should be drawn in as simple manner 
as possible. Work for surfaces and “ modeling ” rather than 
detail. 


[ 5 °] 


















ANALYZE YOUR PROBLEM 


illustration, and how should that illustration be 
handled 4 ? These are questions that will help you to 
analyze the subject in hand and arrive at the correct 
conclusion. Many times you will be prompted by your 
first thought to produce a drawing that at the moment 
seems quite suitable. It may deal directly with the 
merchandise you are helping to sell. It may seem logi¬ 
cal that you use that kind of drawing, but when you 
put it to further test you may find that the subject is 
all wrong from the standpoint of the reader of the 
advertisement. After all, the reader of the advertise¬ 
ment is the one individual whose interest you are try¬ 
ing to arouse. 

No matter how insignificant the task in hand may 
seem, to your customer it fills an important place, and 
from the mechanical side of reproduction it presents 
the same difficulty that will arise in the larger or more 
lucrative commissions to you. Commercial art success¬ 
fully applied continually demands from the artist his 
whole-hearted enthusiasm. The same might be said of 
any other line of endeavor. Creative art of any kind 
reflects the mood of the artist, consequently any lack 
of enthusiasm will show very plainly in his drawings. 
Your customer upon viewing the completed drawing 
may be dissatisfied and yet unable to discover what is 
wrong with it, for it may bear good draftsmanship and 
balance, but the absence of spontaneity will reflect it¬ 
self so strongly that it will have no sparkle or zest, 
and due to that fact it will be flat and commonplace. 

[50 


COMMERCIAL ART 



Fig. 23. 



The two locomotives shown in 
Figs. 23 and 24 will demonstrate the 
effect of a few simple lines , and their 
expression. Both drawings are iden¬ 
tical, with the exception of the lines 
indicating smoke. In Fig. 23, by the 
use of a few sweeping lines the effect 
of speed is produced. In Fig. 24, 
with two lines drawn to represent 
smoke lazily drifting out of the stack , 
one would immediately know that 
the loco 7 notive was standing still. 



Fig. 24. 


[52] 




ANALYZE YOUR PROBLEM 



Fig. 25. 


Speed is indicated by the neglect of definite detail and the 
addition of several “Speed strokes ” Even these strokes must 
not be. sharp, but have a certain quality of atmosphere. 



Fig. 26. 


[53] 



COMMERCIAL ART 


This quality so essential to good work does not end 
necessarily in the matter of drawing but enters into the 
entire analysis of the situation. You must study your 
customer, his products, his readers to whom your art 
must appeal, and the publication in which your work 
will appear, for your drawing must not only be well 
made, but must reproduce to its best advantage in the 
medium or publication, whichever the case may be, 
wherein it shall appear. 

Many stumbling blocks will arise to strip your 
ambition and dampen your ardor but by earnest and 
intelligent analysis they can be overcome one by one 
and you will surely profit greatly by your diligence. 

The creative genius of the artist may know no 
bounds. Beautiful drawings and paintings flow from 
his pen and brush without apparent effort, but if he 
does not know the definite limitations of reproduction 
his work will be for naught and his disgust will finally 
choke his ambition. He must apply that same inven¬ 
tive power in overcoming mechanical reproduction 
obstacles that prompt the genius of his drawings. 
Again, we will assume he retains his artistry in all its 
originality, and he has applied himself and mastered 
the trickery of reproduction, but if he has failed to 
acquire the viewpoint of the reader public his work 
will still remain unsought. His efforts may be likened 
to those of an orator, for after all the orator and the 
artist are similar in the fact that they both paint pic¬ 
tures, one with the brush and other with words. Should 

[ 54 ] 


ANALYZE YOUR PROBLEM 


the orator paint a word picture, beautifully spoken, but 
on a subject with which his audience is not in harmony, 
he would not receive the plaudits that will be obtained 
with a more simple speech direct to the hearts of his 
listeners. 

When starting a drawing your first step is to vis¬ 
ualize it in your mind thoroughly. You should have a 
complete mental picture of just what you are going to 
draw in hopes that through some certain technique you 
will arrive at a successful conclusion. A well-visual¬ 
ized subject is more easily and simply treated as a final 
drawing. It enables you to draw more directly and 
forcefully without the uncertainty of results. 

Select a definite subject, fix its form firmly in your 
mind and draw it in the most simple manner pos¬ 
sible. Start with several small roughs drawn on 
tracing paper, or for that matter any kind of paper. 
See page 13. By the use of tracing paper it is 
possible to develop one suggestion on top of the 
other without the disturbing element of erasing, 
for after you have made several roughs you may 
find that your first conception was the best and 
will return to it for further development. In the mak¬ 
ing of these miniatures work for mass and general out¬ 
line alone, employing no detail. If you will acquire 
the habit of using a blunt-pointed soft pencil in doing 
this, you will not be tempted to employ detail nearly 
so much as when using a sharp pencil. This matter of 
miniature roughs is merely a means of thinking with the 

[ 55 ] 


COMMERCIAL ART 


pencil, so to speak, or visualizing your thoughts for 
future development. 

Now, with an acceptable rough, let us start to de¬ 
velop a sketch for the finished rough. Attach a sheet 
of tracing paper to the drawing board, with a sheet of 
heavy white paper between to afford a white surface 
upon which to work. In the lower left-hand corner 
measure off the dimensions of the intended finished en¬ 
graving, then draw a diagonal line, a—b, as shown in 



the accompanying diagram. You will see that a draw¬ 
ing made any size with its two sides parallel to the sides 
of the small diagram intersecting each other on the 
diagonal line will reduce to the proportion of the orig¬ 
inal. In this manner establish the size your finished 
drawing will be made. Now take the small rough you 
have made and lay out (sketchily) the outline at the en¬ 
larged scale. The purpose of working on tracing paper 
in the early stages is important for in so doing you 
have a latitude of correction and erasure that does not 
[ 56 ] 















ANALYZE YOUR PROBLEM 

hinder your work when it is finally developed and 
transferred to the paper upon which you complete your 
drawing in ink. After you have developed your rough 
on the larger scale you should give thought to such de¬ 
tails as shades, shadows and highlights. These should 
be worked out in pencil and a general construction of 
the balance of the mass given. When you are satisfied 
with this development you will find that you have a 
very clear idea of what your finished drawing should 
be. By blacking up the back of the finished rough with 
a soft pencil and attaching it with thumbtacks over the 
clean white sheet upon which the finished drawing is to 
be made, you will be able to transfer by tracing with a 
sharp pencil the outline of the drawing upon the draw¬ 
ing paper. Remove the tracing paper and you are ready 
to start upon the finished drawing. Any preliminary 
lines or guide lines now should be lightly drawn so 
that the surface of the paper will not be disturbed or 
the blackness of the ink lines weakened by erasure upon 
completion of the drawing. The matter of technique 
or medium to be chosen is a broad subject and will be 
taken up in another chapter, with an explanation of 
where each should be used and why. 

Many subjects will yield themselves to a certain 
type of drawing as far as the drawing itself is con¬ 
cerned but as to the reproduction you will find in many 
instances it will be necessary to employ some other 
style because of certain complications due to mechani¬ 
cal printing processes. Let us bear in mind that a 
[ 57 ] 


COMMERCIAL ART 


proper decision at this time is vital to the ultimate 
result of your work. A comprehensive knowledge of 
engraving, printing paper and printing processes will 
serve as your rule and guide. 

Always bear in mind that your duty to the pur¬ 
chaser of your art is not ended when the picture is 
finished. It is as much a part of your business to prop¬ 
erly plan further steps in production, whether you 
actually take part in that process or not, for if the work 
is produced with intelligent understanding of how it 
is to be used the purchaser of your art will have no 
trouble in applying it to his purpose. Many times you 
will be given a commission which is not wholly to your 
liking. It will be hard for you to “feel the picture,” 
as artists say. Ideas will seem to stagnate and that ease 
with which you usually perform will become an ardu¬ 
ous task. That is the time when you will be called 
upon to throw yourself into the work at hand and for¬ 
get the particular like, or dislike, for that character of 
work, and enter the commercial realm with every ounce 
of vigor you can muster. An ounce of effort expended 
at such times spells the difference between success and 
failure. After you have mastered the perplexing prob¬ 
lem in a satisfactory manner the reward in personal re¬ 
spect and satisfaction will be well worth your effort. 


[ 58 ] 


PART V 
LAYOUT 
and its 

1mporta nee 







By the term “layout” is meant the physical ar¬ 
rangement of the various units composing an advertise¬ 
ment. The first step in the preparation of layout is 
the proper arrangement of the illustration with re¬ 
spect to size, shape, position and its relation to 
headings, logotype and white space all harmoniously 
arranged within the required space. As a usual thing, 
these layouts are prepared by a specialist in that line, in 
the advertising agency, and are passed on to the artist, 
to complete his drawing in conformity with the lay¬ 
out. However, many occasions will arise wherein you 
will be called upon to perform this duty. In either 
event it is necessary that the artist should have a com¬ 
prehensive and thorough knowledge of the subject as 
it deals directly with the manner in which he should 
make his drawings. 

Pick up any of the standard periodicals of today 
and glance through the advertising pages. On every 
page you will find the handiwork of the layout man. 
Each advertisement has its appeal in its own particular 
way and bears directly upon the article it is exploiting. 
You will find some advertisements so delicately bal¬ 
anced and pleasing to the eye that you wonder how the 
several individuals that took part in it could collec¬ 
tively produce such a unified product. This is the result 
of proper planning in the layout and strict adherence 
[61] 


COMMERCIAL ART 





Balance and harmony of the elements of an advertisement 
are as important as the drawing itself. The artist should be 
thoroughly familiar with, and capable of good layout. 


[62] 















































LAYOUT AND ITS IMPORTANCE 




Fig. 28 . 

In -planning layouts , work first in miniature as above. By 
arranging the units in various positions many pleasing effects 
can be obtained. The layouts on pages 62 and 63 are varied 
arrangements of the same units. 


[63] 






























































COMMERCIAL ART 


to it by the artist, the copywriter, the photographer, 
the engraver and all connected with its final comple¬ 
tion. The keynote of a good layout is simplicity. By 
simplicity is meant a clearly defined scheme, with a 
definite purpose and free from any appearance of con¬ 
fusion. A salesman in approaching his purchaser, if he 
is a good salesman, plans his method of approach and 
guides the trend of conversation with but one point in 
view and that is to sell his prospect. An advertise¬ 
ment is a silent salesman and must perform in the 
same way, in a subtle manner. The artist in develop¬ 
ing a layout will find that the idea for the illustration 
will develop itself much more clearly while making a 
few roughs of the entire layout than if he started on 
the illustration alone with no idea of how it is to be 
used. The reason for this is very apparent, for while 
studying the layout he is acquainting himself with the 
unit as a whole. 


Hi 1 


LAYOUT AND ITS IMPORTANCE 





Fig. 29. 

Square layouts usually are not pleasing unless very skill¬ 
fully handled. The vertical rectangle is more successful and 
enjoys more universal use. 


[65] 

































































COMMERCIAL AKl 



Qiicliujt 




>7 






nrh i 


rgy co -the 


cic we- 


fn fh/» ^fpn pa nfl a m a i At inn 


am. ni'w r hirirs 


ion's older 


p’ -i ri Or rhr ttttt rrrr c pin, n rr 


; xml 


ira:. ffiri m:uh 

xe p ai r i og-ptan 


mme i 


tm 


t- jI tI jama tn ea j 


-gsrahliumi 


'The jugmeCT, / =cxceutivcs: and tcch- 
n kijns uf ih c rcy "Xll Q^lTJL^ —tri^iu 
11 Tinp'my .n: ro ;u'jn . y u u i ying i fd aa• 


j* hr r man gr-mv^ Soundly, steadi ly 

gfltoan nflar iffn jEzicpic tnn fVj- jszt - - 

■ a t iMi r y -re— -hrrft tttHt Tip HIE ‘vrryrhlhg 
which Ti ke r-r pan ir Sr rrman pmg tt ss. 
From the simplest h& meai ghting~re fr 


Tnii ~M rnw Pots g r i .vm-H i!c^ tnr 1 it 1 ■ iii.m 


itir ttttI i*»iry , t'yt’i* li'Yi iti~ v »Ra in>inir 


I » hr I th ~v~~P iwr r~T r~trrgiT t 
r sy maim Hint -i i I rprnilihililjC gl 


Company 


naaa be mtn 


vm 


Fig. 30. 

Original drawing \6" x 2l'\ See preliminary miniature 
rough on page 12 . 


[ 66 ] 













































































































LAYOUT AND ITS IMPORTANCE 



1 


ILhjJiviiUiimJiw.vjy. 


Fig. 31. 

Developed up to newspaper page size from the miniature 
rough on page 12. 


[ 6 7 ] 


































































COMMERCIAL ART 


Fig. 32. Pen and Brush with Ben Day 
Shading. 

The original drawing was made three 
times the size of the reproduction shown 
here. This type of illustration serves to 
form a portion of the border and allows a 
great variety of layout possibilities. 

The drawing was done in combinations of 
pen and brush , using Ben Day shading to tie 
the many units together. 



"MIDOPEM 


[681 






























LAYOUT AND ITS IMPORTANCE 


What a Great Bauli W e ans 



Fig. 33 . 

Reproduction of an advertisement five columns by fifteen 
inches. The drawing was made one third larger than the original 
reproduction. Type was set and pasted in the layout and an 
etching made of the entire advertisement. 


[ 69 ] 






























PART VI 

Suitable 'Technique 

for a definite 
Purpose % % 



























































































































The professional touch, the ultimate aim of every 
aspiring commercial artist, is a quality to be obtained 
only after much practice. The uncertain scratchy line 
of the beginner is proof of his doubt as to just exactly 
where the line should be, or how many lines there 
should be. Gradually, after much practice, this uncer¬ 
tainty disappears in your work. You will not yourself 
be aware of it at the time but it will be the result of 
self-confidence and added skill through earnest effort. 
First, you should be sure that you know what you are 
going to draw, and then draw it in the shortest possible 
time and in the most simple manner. Do not clutter 
up your drawing with experimental touches here and 
there that are meaningless, for they do nothing but 
complicate your work. Apply strength of line and 
sharpness of detail. Allow nothing in your drawing 
that has no meaning. Many times you have looked 
at a drawing that seemed so simple that you judged 
that it took but a few moments to make it. That 
apparent simplicity may have been the result of hours 
of elimination, in a once-complicated drawing. It is 
much more difficult to express the thought in a few 
lines than in many. Before starting a drawing on any 
subject or for any purpose you will do well to spend 
a few moments thinking about what you intend 
to do. 


COMMERCIAL ART 

The ideal medium of expression is the lead pencil. 
With it you feel a freedom in drawing, and the ability 
to produce and arrange tones of varying depth and 
density. Unfortunately, however, in working com¬ 
mercially the lead pencil can be used only in a very 
few cases for the finished drawing. I he first concep¬ 
tion and roughs may be worked out very completely 
in lead pencil but due to its reproductive limitations 
the final drawing, or what we might term the working 
drawing from which the plate is to be made, generally 
requires a more definite technique. For instance, in 
working out the roughs, the outlines and the placing 
of the shadows may be worked in a graded manner, 
but when the rough is to be developed with a pen for 
reproduction of a zinc etching the technique must be 
altogether different, because the pen produces positive 
lines in solid color and the method of securing a grad¬ 
ing of shadows must be either by means of the strength 
of the line or the distance apart that the lines should 
be. In the case of crayon used on rough paper the 
graduation is regulated by the amount of the white 
paper showing through. The same applies to the dry¬ 
brush method. Pencil drawings may be reproduced 
in half-tone or in highlight half-tone process, with 
splendid results, provided the screen employed is from 
one of the finer textures. However, the paper upon 
which this highlight half-tone or fine screen copper 
half-tone can be successfully printed must be a smooth 
or coated paper. This of course eliminates newspapers. 

[ 74 ] 


SUITABLE TECHNIQUE 

many of the magazines, and rough-finished antique 
paper. 

The medium of the pen line because of its general 
adaptability will be taken up first. One of the impor¬ 
tant things that the student should thoroughly under¬ 
stand and master is the making of lines that will repro¬ 
duce in the engraving in their true value. The line 
when properly made should be positive and black, for 
should the line be grey from lack of sufficient ink or 
from lack of positive contact of the pen and paper, the 
result will be doubtful. A dirty or clogged pen or ink 
that is too thick will be a source of continual annoy¬ 
ance to you. Always work with a clean pen and fresh 
ink so that your lines will be firm, sharp and clean. 
Now that the student understands the importance of 
clean, sharp lines for reproduction let us take up the 
relation of one line to another. Lines drawn too 
closely together and not leaving enough white space 
between will have a tendency to fill up with ink in 
the printing, especially where rough or coarse paper 
is used. Rough or coarse paper does not neces¬ 
sarily mean cheap paper for some of the finest 
grades of paper have a rough surface. This filling 
between the lines with ink is due to the fact that 
in engraving two lines that are too close together the 
space between which is not intended to come in contact 
with the paper will be so shallow that the surplus ink 
which the lines are bound to collect will fill this little 
trough and the result will be that the two lines and 
[ 75 ] 


COMMERCIAL ART 




with one half reduction , 


and Fig. 35 with two^ thirds reduction. The 
original was made on rough paper with a 
grease pencil. Observe how the texture be¬ 
comes more refined with greater reduction 
and has a tendency to become more dense. 


[76] 


SUITABLE TECHNIQUE 



r-' 


Figures 37 and 38 illustrate 
the use of the pen in connection 
with crayon to substitute the 
more intricate detail , not pos¬ 
sible to get with crayon alone . 
The crayon , or grease pencil, 
affords a very pleasing and soft 
medium in which to work , and 
properly executed, a crayon 
drawing yields a very satisfac¬ 
tory reproduction . 


Fig. 38 . 



[77] 















COMMERCIAL ART 



Fig. 39. 

Figures 39 and 40 illustrate two opposite color treatments 
of the dry brush technique. The use of the almost solid black 
background accentuates the hightones of the face, and affords a 
very forceful style of illustration. Figure 40 is best used where 
a great amount of white space surrounds it. Try copying these 
two subjects twice the size on rough paper. 



Fig. 40. 

[78] 




SUITABLE TECHNIQUE 

the £pace between will print as one solid line. This 
same precaution exists where several lines are used to 
cross each other at various angles. 

The chart on page 6 shows several different treat¬ 
ments. You may very readily see which will give you 
trouble first. If drawn too closely together, the plate 
will fill solid in printing because of the small amount 
of white space between. However, many instances 
will demand from an artistic viewpoint this method of 
cross hatching. Then by all means use it, but at the 
same time exercise precaution and do not close the lines 
up too much. If the paper upon which your reproduc¬ 
tion will appear is of a very smooth and hard quality it 
will permit of a much closer handling than if it be 
rough and soft. 

Another feature in the making of the fine line 
drawings that is well to bear in mind is: when print¬ 
ing upon rough and soft paper the line has a tendency 
to spread and be much wider than if printed on a hard 
smooth surface. It is easy to understand why this 
could be, as the printing plate has a tendency to mash 
the paper and squeeze it up between the lines. 

The use of the line is manifold. It may be used 
as the boundary line of an object or used in conjunc¬ 
tion with many other lines to form a tone. In any 
event, wherever used it should be sharply defined. 
Commercial artists of years of practice realize the 
importance of positive lines and avoid weak, indis¬ 
tinct or scratchy grey lines in their work. There is no 
[ 79 ] 


COMMERCIAL ART 


grading of tone in line work, except as the line varies 
in its size, or in the relation of several lines to each 
other. Grading of tone comes only in half-tone work, 
and that is another subject to be taken up later. 

Let us remember that a line must be positive, it 
must start and stop in a definite black beginning and 
ending and not start with a grey indefiniteness and end 
in uncertainty. The paper used to draw these lines 
upon should be white, just as clean and white as is 
possible to procure for only clean, white paper and 
black, positive lines make good engraving. The pre¬ 
liminary sketch work for the student should be done 
on separate paper and not upon the sheet intended to 
be used for the finished pen drawing, for every device 
that can be used to keep the eraser off the finished pen 
drawing will render you a just that much better repro¬ 
duction. Your drawing may be well made and lines 
black enough when completed but after scrubbing 
with an eraser to remove the preliminary pencil lines 
you will find that those fine black pen lines have been 
reduced to a grey, in places. Many artists work out 
their preliminary pencil sketches on tracing paper and 
after a satisfactory outline has been arrived at by 
blacking the back of the tracing paper with an ordi¬ 
nary soft pencil, tracing over lightly with a harder pen¬ 
cil as explained in Part IV, the outline will appear 
upon the paper plain enough to serve as a guide and 
still light enough so that it can be easily eradicated 
[80] 


SUITABLE TECHNIQUE 


The drawing to the right was 
made 8 inches high. It demon¬ 
strates the use of solid blacks and 
whites , and the occasional outline 
suggestion to carry the design. The 
angles are made sharp to get the 
effect of a well-pressed suit of 
clothes. 




Fig. 42. 


Fig. 42^. 


The drawing to the left was made 7 
inches high. As in the drawing above 
the solids were used , but by a different 
stroke and contour of figure the effect 
of soft unpressed clothing is obtained. 
Study these two examples of technique. 
They will be very useful to you. 




COMMERCIAL ART 


Figure 43 was made 8 inches high. This illustrates a 
sketchily done semi-dry brush technique highly suitable for the 
subject. Great latitude is allowed in this style, yet the anatomy 
of the figure must be as studied as in the more carefully done 
technique. The original was made with a brush on medium 
rough paper. 




This illustratio 7 i shows the 
possibilities of this technique 
in greater reduction. 


[ 82 ] 



SUITABLE TECHNIQUE 

without disturbing either the surface of the paper or 
the tone quality of the ink lines. 

You have been directed to make drawings for 
reproduction on white paper. Not only should it be 
white but it should remain that way; after prac¬ 
tice the student will become accustomed to working on 
a drawing without soiling the paper. After the draw¬ 
ing is completed if the artist is reasonably careful it 
should be necessary to do very little cleaning with the 
eraser and then an eraser should be used that will not 
alfect the black quality of the lines. 

Neatness in working is essential in drawing com¬ 
mercially for in reproduction the camera with its 
lack of artistic sense has a habit of picking up and 
enlarging all those little smudges that seem so insig¬ 
nificant on the original, and of making ragged and 
distasteful shapes of them. 

This subject of lines is intended to be treated in a 
broad manner and covers cases of all mediums where 
zinc etchings or commonly called line engravings are 
used; that is, black and white, dry brush, grease, cray¬ 
on, etc., all coming under the head of line engravings. 

In order that the reproduction may be satisfactory, 
it remains to the judgment of the artist as to what 
medium to use in his final drawing. A thorough knowl¬ 
edge of the paper upon which the copy is to be printed 
is an essential requirement before proceeding with the 
drawing. On the following pages, you will note sev¬ 
eral different styles and types of medium, and variety 

C8 3 ] 


COMMERCIAL ART 


of technique, with an accompanying description of 
how each was made, and the percentage of reduction 
the printed picture bears, from the original sketch. 

The matter of reduction in drawing should always 
be taken into consideration. A drawing which is made 
on a very large scale with the idea of reducing it in 
size many times should be made very strong and open, 
for, let it be remembered, in the reduction of the 
size the lines and spaces between the lines reduce in 
the same proportion, so that many times what is as¬ 
sumed to be a strong line on the drawing, when repro¬ 
duced, will seem very fine and weak. Experience in 
this will teach you in a very short time the relative 
value of the line. You will notice that while the 
reduction refines the defects of the drawing, it at the 
same time weakens the general effect as a whole. Each 
student will find after a certain amount of handling 
of the pen that some special technique will come easier 
than the others and he will find that eventually he will 
develop along that particular line, and it will become 
a recognizable trait in his work. Recognized artists 
all have their distinctive technique; that is to say, not 
necessarily original with them alone, but one with 
which they handle their work successfully. However, 
in doing general commercial art work the artist is 
called upon to illustrate so many different subjects in 
character, and for such a wide variety of performance, 
that he must be able to handle these various subjects 
in the technique which is best adapted to the subject 

[84] 


SUITABLE TECHNIQUE 



Fig. 45. 

This drawing was made with a brush on smooth paper. A 
very good technique for buildings , as it has strength and good 
reproductive qualities. 


[851 









COMMERCIAL ART 



Fig. 46. 


The drawing above was made twice this size in dry brush 
on medium rough paper. The one below was made 6 inches 
high on smooth paper. Study the highlight treatment on both. 



Fig. 47. 
[ 86 ] 

















SUITABLE TECHNIQUE 

itself. For example, a mechanical subject should be 
handled, ordinarily, in a mechanical way. A landscape 
has its particular style of expression, likewise the 
human figure, buildings, cartoons, etc. Speaking fur¬ 
ther of the technique of drawing, one may point out 
that one of the common dangers to the artist is to 
spend too much time developing the technique of his 
lines or the medium in which he is working at the 
expense of the subject itself. The result of the fin¬ 
ished drawing is that it seems mechanical and stiff 
and does not have that human-interest appeal and 
dramatic feeling which is essential. A drawing made 
in this way may be analyzed and found to be nearly 
perfect as to its mechanics, but the effect upon the 
reader of the advertisement in which it appears is not 
successful. 

In working out commercial drawings it is usually 
good practice to try to throw the subject into strong 
highlights and shadows if possible. This makes for 
good contrast and strength in the illustration. By 
careful study of your highlights and shadows the atten¬ 
tion can be drawn to the particular part of the illus¬ 
tration which you desire emphasized, thereby creating 
more interest and life in your illustrations. After all, 
the printed picture is but a series of planes of varying 
shades and highlights and it is therefore reasonable to 
assume that illustrations especially prepared for a 
newspaper will be the more successful, in their final 

[87] 


COMMERCIAL ART 



Fig. 48. 


Showing the treatment of the aeroplane in a formal and 
informal technique. Both styles yield good reproductions. 



Fig. 49. 


[ 88 ] 






SUITABLE TECHNIQUE 



Fig. 50. 


Fig. 52. 



[S9l 


















COMMERCIAL ART 


stage, if they have great contrast. This might be said 
of all illustrations generally used. 

The medium of the dry brush combines to an extent 
these two opposing forces in illustrations. The dry 
brush style affords a very forceful type of illustration 
and one that reproduces as a zinc etching very satis¬ 
factorily. In working dry brush the artist aims for 
deep shadows and strong highlights, leaving much to 
the imagination of the reader. When properly made, 
the dry brush illustration in a broad range of variety 
is very successful and affords tone values from almost 
a pen line to solid black masses. 

At the beginning of your career it is well to give 
no thought to specialization in any particular line 
even though you feel inclined in some one direction. 
You may find through contact with the various 
branches in this vast field other, more appealing sub¬ 
jects for your future specialization. It has been the 
writer’s observation in the many years of his practice 
that a beginner perfectly confident of his ability to 
succeed in some particular branch of commercial art 
will oftentimes become a specialist in an entirely dif¬ 
ferent branch due to his inability to develop beyond a 
certain point in the first branch of his choice. This is 
not always due to lack of effort but usually to the lack 
of some particular qualification necessary to that 
branch, and his final specialization will involuntarilv 
be made for him, after years of practice and the dis¬ 
covery of a latent ability not evident in the beginning, 
foo] 


SUITABLE TECHNIQUE 



Fig. 53. 

Showing a reproduc¬ 
tion of the original , ac¬ 
tual size, and a great re¬ 
duction of the same. 
Notice how the bold 
black treatment of the 
original disappears in the 
small reproduction. 



Fig. 54. 



Fig. 55. 


Fig. 56. 

The illustration of the golfer 
shows a very suitable technique , 
that will permit great reduction 
without filling up. Study these 
carefully and co 7 npare the original 
with its reduction. 

[90 


COMMERCIAL ART 


Many artists, to the writer’s knowledge, have 
started as draftsmen, retouchers, or fashion artists, and 
have after years developed into designers, cartoonists, 
illustrators, or portrait painters, and apparently with 
no effort on their part to specialize. The matter of 
specialization comes about through the individual’s 
ability to excel in the drawing of some particular sub¬ 
ject, and his volume of work along this line increases 
as time goes on through his customers’ seeking that 
subject from his pen or brush. So, for the time being, 
let us not think of specialization. Let us apply our 
wits and endeavor to the matter of drawing a few lines 
in the proper way in order that the engraver and the 
printer may be able to reproduce them in their true 
value, regardless of whether those lines be in the form 
of a picture of a box, a landscape, a cathedral, or the 
human figure. 

The scope of illustration is not limited alone to the 
artist’s efforts nor ability to produce drawings. Many 
times it is advisable to resort to the use of photographs 
in illustration. Certain types of merchandising re¬ 
quirements demand the incorporation of actual photo¬ 
graphs for various reasons. The artist should nothin 
cases of this kind, try to substitute drawings, for in 
this era of highly developed photographs he can hardly 
hope to imitate the actual photograph. 

The modern publication has so improved its repro¬ 
ductive methods, through means of its multicolor 
presses, expert workmanship and high-grade paper, that 


SUITABLE TECHNIQUE 



Fig. 57. Attention Value. 

Frequently , an illustration is used only to direct the atten¬ 
tion of the reader to some 'particular part of the advertisement , 
and this can he accomplished by some such example as shown 
above. It is essential that the drawing be strong in high and 
low tones and simplified as much as possible. 


[93] 


COMMERCIAL ART 



Fig. 58 . 

Showing a i^-line half-tone reproduction of a lithograph. 
The original work was done directly o?i the lithographic zinc 
with a grease crayon. The original was 15 x 25 inches. 


[94] 






SUITABLE TECHNIQUE 



Fig. 59 . 

Showing a l^Q-line half-tone reproduction of hard-conti 
crayon drawing on smooth paper. The original about 9 x 12 
inches. 


[95] 








COMMERCIAL ART 



Fig. 6o. Commercial Cartoons. 

Cartoons have their place in advertising hut should be used 
zvith discretion. They must he strong and simple , with not too 
much painstaking detail . Under 

ordinary circumstances the cartoon is 
hardly a suitable illustration as it 

lacks that degree of sincerity neces - ^ 

sary in advertising , yet in many cases 
successful advertising campaigns de¬ 
pend on the cartoon for illustration. 


/O 




nU , ; ^ 


[96] 


SUITABLE TECHNIQUE 



Figure 61 shows a suitable style , and proper reduction for 
newspaper use. The original was twice this size. 

Figure 62 shows a style not successful for newspaper repro¬ 
duction because of its complicated technique. The original was 
five times the size of this reproduction. 



Fig. 62. 


[97] 















COMMERCIAL ART 


it permits the use of very fine screen half-tones. Fine 
screen half-tones reproduce photographs admirably. 

Scan the advertising pages of the modern magazine 
and you will see for yourself the increasing number of 
illustrations that are done photographically. The most 
apparent examples are those that have not felt the 
hand of the retoucher. Even many that appear to be 
original drawings were first covered as photographic 
studies. These studies furnish the basic idea for the - 
composition and general outline and the finished draw¬ 
ing is made either by painting over the photo or 
making a sketch, using the photo as a guide. 

The commercial artist must be capable of properly 
handling the photograph in his work, either as a study 
from which to work, or as a finished product to be used 
in conjunction with his drawings. 

It is suggested that the artist establish for himself 
a classified library of photographic subjects. The pur¬ 
pose of this library or ‘morgue,” as it is commonly 
known, will supply him with information when needed. 
For example, if you are required to draw a picture of 
a car, a horse or a snow-capped mountain, you should 
be prepared, by reference to your “morgue,” to produce 
a drawing that is correct in its physical construction. 
The average human mind is not so constructed that 
it can retain a perfect mental picture, in true detail, 
of the thousands of objects that it is called upon to 
produce, without some means of refreshing it. Photo¬ 
graphs, or half-tone reproductions of photographs, in 
[ 98 ] 


SUITABLE TECHNIQUE 

the absence of the image itself, are recommended be¬ 
cause of their faithfulness of detail. It will surprise 
you what an amount of valuable data it is possible to 
amass over a period of time, by consistent effort in this 
direction. 


[ 99 ] 




PART VII 

Hand lettering 
and its 

VALUE 


[101] 









Good hand lettering is an indispensable branch of 
commercial work. Many artists specialize in lettering 
alone and make a life study of it; however, every com¬ 
mercial artist will be called upon to do lettering and 
should be thoroughly capable of producing it. Many 
times a drawing will fail to coordinate with a type-set 
heading, while the same drawing with a lettered head¬ 
ing will appear altogether different. 

Hand lettering acts as an agent which makes a lay¬ 
out “hang together,” yet if too much is used it has a 
tendency to make the copy “scattered.” There are a 
great many styles and alphabets and the student 
should avoid mixing them. 

Close observation of type and type faces not only 
offers constructive information in regard to how the 
letters should be formed, but will acquaint the student 
with harmonious combinations. 

The popular letters of today are based on the 
Roman. The student will find that he will meet with 
failure as a hand letterer if he tries to design letters 
rather than follow the traditional forms. Mainly the 
reason for this is that modern type faces are based on 
Roman, and if the hand-lettered head is not in har¬ 
mony with the body of the text it will appear to be 
a misfit. If the student will make a careful study of 
several type faces such as Coston, Bodoni, Garamond, 
C103] 


COMMERCIAL ART 


SATISFACTION 

IMITATION -Y.pA* 



IVJSIIM3 HIGHLIGHT 

Ancient 



reafn 

Fig. 63. 

Showing several styles of hand lettering . 


HAND LETTERING AND ITS VALUE 



A ^appreciation_> 

nnomand 1 ^ p 

* Jjejore 

DISTINCTIVE L 

GraJulna, . ■ TO"' 0 *^ 
^ J n 

(Stastiii 

\rjormance> ^|lFibb 

better ff)eauUjul 

balance b 4|K€ 4| N 

Better Automobiles 

(Mat G/ud T” E 

Improvements 

Fig. 64. 

Good illustrations are worthy of good hand lettering. 


COMMERCIAL ART 


etc., and from the larger faces make tracings on tissue, 
much benefit will result, in acquainting himself with 
their form and character. It is as important to have 
the “feel” of hand lettering as it is to do the drawing. 

Different advertising appeal requires special treat¬ 
ment in lettering to suit the case. 

Secure some good books on lettering and learn the 
fundamentals of form and character. A study of the 
layouts and specimens in magazines and periodicals 
will prove very helpful. 

Due to the fact that lettering should be sharp and 
clean in reproduction, it is well to use a much greater 
percentage of reduction than in the average drawing. 
This is very simply done as the lettering can be made 
on a separate sheet of paper and the both plates tacked 
on the same block by the engraver. Many artists have 
a tendency to consider the lettering on a drawing as 
secondary; as a consequence, many otherwise good 
drawings have been spoiled by careless lettering. 


[106] 


PART VIII 
BEN DAY 
Shading 
Process 


C107] 
























































' 

* 

, 













Many times it is desirable to reproduce a drawing 
that requires a great deal of shading in order to am¬ 
plify certain planes or parts. By trying to accomplish 
this with a pen with lines or cross hatchings, fre¬ 
quently the drawing will become so complicated that 
the effect of the finished product will not be pleasing. 
A very satisfactory method to overcome this difficulty 
is by the use of a Ben Day machine. The process de¬ 
rived its name from the inventor. Practically every 
photo-engraver has as part of his regular equipment a 
Ben Day shading machine or some similar mechanical 
shading process and is thoroughly conversant with its 
use. By the careful use of the Ben Day process em¬ 
ploying screens of varying tone quality and density, 
many distinct and separate tones may be had from a 
single color. The Ben Day is invaluable in the pro¬ 
duction of zinc color work. 

We will not go into the mechanics of the device as 
that is unnecessary, for you are interested only in the 
ultimate result through its use and in the possibilities 
that may be arrived at. However, you should know 
that the Ben Day shading effect is produced by the 
laying of a gelatine-like sheet upon which is a design 
charged with ink. The pattern is transferred upon 
the plate, producing where desired a pattern effect ac¬ 
cording to the design of the Ben Day film selected. 

[109] 


COMMERCIAL ART 



511 


512 437 


517 



446 


505 532 533 


Fig. 65. A few specimens of Ben Day patterns. 












































































BEN DAY SHADING PROCESS 


On the opposite page will be seen a few of the designs 
or patterns that may be had in this process. Each pat¬ 
tern is numbered, and the artist when selecting the 
required design orders the Ben Day film to be used by 
marking the number on his drawing or the tissue paper 
flap covering the drawing. There are a great variety 
of patterns to be had. A sample sheet may be seen 
at the photo-engraver’s. Undoubtedly the engraver, 
upon application, will furnish you a sample sheet of 
his patterns. 

A great variety of effects can be attained by the 
use of Ben Day shading through combinations of 
various patterns. A few of the common uses for Ben 
Day was illustrated in the accompanying pages so that 
you may become familiar with its application. In mak¬ 
ing a drawing where you wish to use Ben Day shading, 
the portion to be covered with the pattern should be 
indicated with a blue pencil or a light blue wash of 
transparent color. It seems that the use of blue for 
indicating Ben Day is universal and probably the 
reason for this method is that blue on a black-and- 
white drawing does not photograph when the copy is 
put before the camera, but allows the black lines to be 
reproduced without interference. After the operator 
has photographed your drawing and carried it to the 
stage where the laying of the shading is necessary, he 
is then guided by your copy as to the exact place 
to lay the Ben Day, by the use of the blue wash. 
Should more than one pattern be desired in the draw- 
[in] 


COMMERCIAL ART 



Fig. 66. 


Above shows the pen drawing with Ben Day used. Below\ 
the drawing as the engraver received it. 



Fig. 67. 

[112] 

























BEN DAY SHADING PROCESS 



Fig. 68. 


Showing a brush drawing combined with Ben Day. The 
indication of where the pattern should appear was shown by 
means of a light blue wash on the original drawing. 






































COMMERCIAL ART 


Many very pleasing effects can be had by the use 
of Ben Day screens. 

Figure 69 shows several illustrations of reverse 
Ben Day used to lighten up , or shadowtone, heavy 
lettering or borders. The original was made in the 
usual manner and instructions were given the engraver 
to cut tlie drawing with a Ben Day of a specified 
pattern. 



)peningf 

Fig. 69 . 


[114] 

















































BEN DAY SHADING PROCESS 

ing, indication of where each pattern should appear 
can be accomplished by different tones of blue or the 
addition of a light purple. A schedule of each color 
and the serial number of the desired pattern should 
accompany the drawing. In preparing your drawing 
for Ben Day work it is always necessary that a guide 
line be used, showing the engraving operator where 
the Ben Day should be laid. If you desire this shad¬ 
ing in the completed product to be without an outline, 
all that is necessary is to make a notation to the en¬ 
graver on your drawing to eliminate the outlines on 
the plate. Many times these guide lines are indicated 
by the use of red ink. In photographing the copy, the 
red photographs black and gives the operator an out¬ 
line to follow, then with a notation on the margin of 
your drawing, instructing him to eliminate red lines, 
he will drop these out on the finished plate. This 
method simplifies the work, for by the use of red he 
knows exactly which lines you wish eliminated. In 
some instances it is desirable to leave the guide lines 
and allow them to become a part of the drawing, but 
in most cases the quality of the Ben Day shading is 
enough to indicate its own outline. 

Ben Day shading is used not only to add a tone 
to white spaces but, frequently, to break up the 
solid black areas, as is shown on one of the preced¬ 
ing pages. It is especially valuable in connection with 
lettering and border designs. All that is necessary is 
to make your lettering, or border, or whatever the sub- 
[n5] 


COMMERCIAL ART 


ject may be, in solid black and instruct the operator to 
use a reverse Ben Day screen of the design you select, 
either in dots, lines or cross lines. By the use of dif¬ 
ferent screens many effects and tone gradings may 
be had. 

The further use of Ben Day, and a most important 
use, will be taken up with respect to color plates, where 
it plays a very important part in the reproduction of 
color plates of an inexpensive character. 


PART IX 

Commercial Engravings 

The line Etching 
and Half-tone $ 







1 he line etching has beyond a doubt a broader field 
of use than any other type of engraving. The reason 
for its popularity lies in its adaptability from a print¬ 
ing standpoint. The line etching can be printed on 
practically any character of paper that permits print¬ 
ing of any kind. This accounts for its wide use for 
advertising purposes. A drawing executed on clean 
white paper with sharp black lines will reproduce in 
accurate detail as an exact copy, but if the drawing 
should contain indefinite grey lines those lines will 
fail to materialize on the finished product. 

It is well that the student should know something 
of the mechanical process of producing a line etching 
from his drawing, as a clear understanding of the 
methods will impress upon his mind the importance of 
neatness and adherence to some of the simple rules 
already laid down to him. First of all, the line etch¬ 
ing is made photographically, which fact permits of 
a reduction or enlargement of the drawing with 
no danger of alteration except that in reducing the 
size of a drawing the lines and the spaces between the 
lines necessarily reduce in their proportionate size, 
and the reverse holds good for an enlargement. 
As a consequence the drawing improves in its detail 
as it is reduced, but as a rule to enlarge a drawing 
emphasizes defects and makes the copy seem coarse. 

C119] 


COMMERCIAL ART 


The commercial artist of years of practice usually 
makes his drawing from one third to one half larger 
than he intends that the reproduction shall appear. 
Of course this is a matter that rests entirely with the 
individual, for many artists are known to make their 
drawings the actual size that they expect the repro¬ 
duction to be. There is no set rule for the size the 
drawing should be made, but the artist will find after 
a certain experience that to make a drawing much 
larger than the expected reproduction will permit him 
to employ a great deal more detail, or suggested detail, 
whichever the case may be, with less effort and less 
liability of cramping his style. 

But, to go back to the making of the line etching. 
The finished drawing is attached to a copy board and 
is fixed firmly in front of the lens of the camera. This 
copy board and the camera together are usually fas¬ 
tened on an adjustable frame and upon the copy board 
are focused powerful arc lights. The operator peer¬ 
ing through the back of the camera, in which is fixed 
a ground glass, regulates the distance of the camera 
and the copy until the image of the drawing shows of 
the size desired upon the ground glass. Other adjust¬ 
ments on the camera permit him to focus the image so 
that it will be sharp and clear on the ground glass. 

A specially prepared photographic glass plate is 
then put into the camera and the image is recorded. 
This plate is then taken to the dark room and devel¬ 
oped and fixed in the same manner as all plates and 
[ 120 ] 


ENGRAVINGS, LINE ETCHINGS, HALF-TONE 

films. After this plate has thoroughly dried the emul¬ 
sion side is coated over with a thin coating of rubber ce¬ 
ment and allowed to dry. When dry, a coating of col¬ 
lodion is flowed on evenly and it in turn is allowed to 
dry. Now the film upon the glass is ready to be stripped 
or removed from the glass. This is accomplished by 
submerging the plate in a bath of acetic acid. The 
film removed is then placed on a glass plate but re¬ 
versed from its former position. The reason for this 
stripping and reversing is so that the finished plate, 
when printed, will read right, or, in other words, will 
read from right to left and not print backwards. 

The metal upon which the subject is to be etched 
and which will form your finished zinc etching after 
going through its several processes is a piece of zinc, 
in this case about a sixteenth of an inch thick, with one 
highly polished side. LTpon this surface a coating of 
solution of white of an egg, or albumen, and water 
and ammonium dichromate is flowed. The plate is 
then dried over a gas stove in a dark room. This piece 
of zinc now has a sensitized surface and is ready for 
printing. It is placed in a printing frame with the 
sensitive side in close contact with the negative, which 
has been stripped and turned. The printing frame is 
then exposed to a powerful light for a few minutes, 
allowing the negative to print upon the sensitized zinc. 
The zinc plate is then taken to the dark room and 
developed and fixed in much the same manner as 
the original negative, but in developing all parts 
[121] 


COMMERCIAL ART 


of the sensitized coating disappear except those not 
affected by the light, leaving upon the plate the image 
that was on the negative within which the contact 
was made. 

At this stage the plate is inked up; that is, rolled 
over with a hand roller with a specially prepared ink. 
The plate is then placed under a tap or faucet of run¬ 
ning water and rubbed with cotton very lightly. The 
zinc print is slightly warmed over a gas jet until the 
ink becomes “tacky,” then it is dusted over with 
dragon’s blood, or a red powder which adheres only to 
the part of the plate which is inked up. The plate is 
then held over the gas jet until the dragon blood coat¬ 
ing melts. The next stage is to cool quickly the heated 
plate so that the dragon blood forms an acid-resisting 
coating over the lines on the plate. 

You now have a plate upon which is the image of 
the drawing in every detail, and every line and dot 
that you have made is covered over with an acid-re¬ 
sisting compound. That portion of your drawing 
which was at one time white paper is now plain clean 
zinc about to be attacked and eaten away by the acid, 
allowing the lines to remain intact, which will even¬ 
tually become the printing surface of your plate. The 
next step is to place the zinc plate in an etching ma¬ 
chine. There are many types of etching machines, but 
the one in general use dashes nitric acid over the sur¬ 
face of the plate and etches away the portion that is 
not covered with the acid-resisting compound. 

[122] 


ENGRAVINGS. LINE ETCHINGS, HALF-TONE 

The process of etching is not done all at one time. 
It is taken by what the engraver terms "bites.” The 
first bite, or length of time that the plate is in the acid, 
is not more than half of a minute. The plate is then 
removed from the acid bath and dusted over with 
dragon blood again. The reason for these separate 
stages, or bites, is that acid in eating the unprotected 
part of the plate would have a tendency to under-cut 
or eat under the surface of the protected lines, but in 
etching by stages each time that the dragon blood is 
applied tends to protect the side of the line as well as 
the top, as the acid eats in a downward direction. 

The plate is next held over the gas jet and heated 
until the dragon blood melts and covers the top and 
the side of the line, already etched a small way down. 
This process may be repeated several times before 
returning to the etching machine. 

The second bite will allow probably three times the 
length of time of the first bite, after which the plate 
is removed and dusted again with dragon blood, is 
heated and cooled in the same manner as described 
before, then returned to the etching machine. 

After the etching is completed, that is to say, when 
the operator feels that the plate is etched deeply 
enough for printing purposes, it is removed and the 
acid-resisting coating formed of the dragon blood is 
removed by a bath in hot lye water. 

The plate as we have it now has all the lines 
embossed, one might say, with all spaces between 

[123] 


COMMERCIAL ART 



Fig. 70. 

These two illustrations show the difference between an 
etching and a half-tone. 

Above is shown the effect of a zinc etching , while below 
is shown a half-tone made from the same copy. The original 
drawing was made in solids identical with the etching repro¬ 
duction. Note that the half-tone reproduces black as dark 
grey, and white as light grey. 



Fig. 71. 

[124] 
















ENGRAVINGS, LINE ETCHINGS, HALF-TONE 



Fig. 72. 

Figure 72 shows a \5-line screen half-tone reproductio7i of a 
pencil drawing. 

Figure 73 shows a 55-line screen half-tone of the same sub¬ 
ject. Both the \^-line and 55-line screens are exceptionally good 
for reproducing very dark copy for newspaper use. 



Fig. 73. 
[125] 




COMMERCIAL ART 



Fig. 74 . 

Figure 74 shows a 60-line screen half-tone. The 60-line 
screen is more commonly used in newsprint . 

Figure 75 shows the 80-line screen used in publications, 
where a slightly better grade of paper is used. 



Fig. 75 . 


[126] 






ENGRAVINGS, LINE ETCHINGS, HALF-TONE 



Fig. 76. 


Figure 76 shows a 100 -line screen suitable for use on medium 
smooth 'paper. 

Figure 77 shows a 133-line screen suitable only for use on 
enamel paper. 



Fig. 77. 

{127] 



COMMERCIAL ART 



Fig. 78. Highlight Half-tone. 


The highlight half-tone derives its name from the fact that 
it allows the pure white paper , upon which it is printed , to 
furnish highlight through the elimination of the screen dots in 
the white. As you know , an ordinary half-tone provides a screen 
over the entire surface , even where the drawing is white. The 
highlight half-tone is most valuable in reproducing soft pencil 
drawing effects where contrast is paramount , even in all degrees 
of tone. Compare this “highlight” with the ordinary half-tone 
on page 133. Examine it with a magnifying glass and you will 
readily see the difference. 


[128} 



ENGRAVINGS, LINE ETCHINGS, HALF-TONE 



Fig. 79. 



Often you will be required to make a layout of photos and 
be given photos of various sizes that will not stand the same 
reduction. This is done by preparing a drawing as shown above. 
Number each photo , also indicate the space it will occupy , and 
instruct the engraver to “strip in” photos and cut the border with 
a one-way screen as shown on the reprint below. The border 
is made as an etching zchile the photos are reproduced as half¬ 
tones. This is termed a combination plate. 



Fig. 80. 

[129] 






COMMERCIAL ART 



Fig. 81. A 65-LiNE Half-tone Screen of a Wash Drawing. 


The purpose of this illustration and the similar one on the 
opposite page is to show the effect of highlighting a half-tone 
screen. The manner in which this particular one was made is 
as follozvs: A negative was made of the wash drawing in the 
usual manner , then the engraver made a velox print from that. 
The velox print is merely a paper photographic print from the 
negative. The difference between the print and the original is 
due to the fact that the print has all the tones made with dots 
of varying size and density. 






ENGRAVINGS, LINE ETCHINGS, HALF-TONE 



Fig. 82. 

Next , the artist , with a brush and white paint , painted out 
the dots in the portions he wished to appear pure white. After 
the highlighting was completed , the print was. again sent to the 
engraver, arid a new plate was made. This time the plate was 
made as a zinc etching , because the screen was already provided 
by the previously made print. The advantage of highlighting 
in this manner is due to the fact that the artist can do his own 
highlighting , and should he desire to change certain parts he is 
at liberty to do so. 






COMMERCIAL ART 



Fig. 83. 


Demonstrating a further step in the process described on the 
previous page , with solid blacks added to the vet ox print. 

By way of explanation , the darkest tone on this reproduction 
was solid black on the original drawing. 


[132] 




ENGRAVINGS, LINE ETCHINGS, HALF-TONE 



Fig. 84. 

The solid blacks were painted directly on the velox print 
with a brush and black ink in the same manner as the white was 
handled. It is not practical to attempt this method with screens 
of a finer texture than 100 lines. 

[133] 



COMMERCIAL ART 



Fig. 85. Air Brush. 

One of the important phases of engraving house art is the 
use of tjie air brush for retouching and making wash drawings. 
The principle of the air brush differs from other work , in that 
the color is blown on by air pressure instead of being applied 
with a carneVs-hair brush. The use of this ingenious device re¬ 
quires great skill and practice , and can be properly learned only 
through personal contact with an operator. The above cut 
demonstrates the character of work produced by the air brush. 


D.34] 


ENGRAVINGS, LINE ETCHINGS, HALF-TONE 

and the part that was white paper on your drawing 
eaten away a small fraction of an inch. However, in 
the great spaces between lines the depth is not sufficient 
to allow the soft inking rollers of the press to ink the 
high surface without depositing a certain amount upon 
the part that must remain uninked. For this reason 
the routing machine is employed to remove all surplus 
zinc and to cut the plate deep enough in the larger 
spaces, so that no trouble will occur in printing. 

The routing of the plate is done by a machine 
which employs a bit somewhat after the fashion of a 
drill except that it is flat on the end and cuts or mills 
away the metal as it is moved around in different posi¬ 
tions. This router travels at a very high speed and it 
is essential that it be used with extreme care in order 


150 


100 

155 


85 

120 


60 

Fig. 86. 

Showing several representative screen 
sizes . 

reproductions of varying 


Ci35] 








COMMERCIAL ART 

that parts of the plate be not removed that were not 
intended. 

Zinc etchings used for printing in job presses and 
presses of that character are mounted on wood blocks 
and planed off so that they are type-high. However, 
those used in newspapers are left unmounted because 
from these engravings matrices are made and it is not 
necessary to have the type-high mountings. 

There are many processes through which zinc etch¬ 
ings must go, such as hand tooling, inspection, check¬ 
ing with the copy to see that no part of it has been 
etched away or removed by the router, but these are 
all a matter of detail, and from the standpoint of a 
general understanding of the manufacture of an etch¬ 
ing need not necessarily burden the mind of the 
student. 

The half-tone differs from the etching in that it is 
made up of a series of dots and permits all interme¬ 
diate tones other than black or white. Photographs, 
wash drawings and all copy that contains tones other 
than black or white must be reproduced by a half-tone 
negative. This is done by photographing the copy 
through a screen made up of two pieces of glass, upon 
the surface of which are ruled fine lines. These two 
pieces of glass are cemented together at right angles, 
forming a screen effect. 


PART X 

drawing for 

COLOR 

reproduction 







The subject of drawing for reproduction in colors 
is very broad and would require many volumes to 
cover it, but we shall endeavor to go into some of the 
various processes briefly. The classification includes 
drawings made in black and white and printed in col¬ 
ors from zinc etchings or half-tones, drawings made 
in black and white and colors combined with the Ben 
Day shading process, or with the outline and Ben Day 
process alone, and drawings made in full color, and 
reproduced for printing in the actual colors used on 
the drawing. There are many other processes, but 
space will not permit us to treat more than briefly upon 
these others. The simplest form of color work, of 
course, is the illustration consisting of one plate 
printed in some color. This might be a plate that 
would be used in a newspaper, or anywhere for that 
matter; the only difference being that instead of print¬ 
ing with black ink it would be printed in a color. 
Regardless of what color the plate is intended to be 
printed in, the original drawing would be made in 
black and white just as if it were intended for black- 
and-white reproduction. Next comes the combination 
of two colors: We will say, for example, black and 
orange, a very popular combination. On page 147 
vou will see several different treatments of two-color 
combinations. 


[ 139 ] 


COMMERCIAL ART 

Every color job must have what is termed a key 
plate. The key plate is usually a black plate or, if black 
is not used, let it be the plate which carries the great¬ 
est amount of detail and outline. Then, the second 
color may be termed the tint, so that the two plates will 
be known as the key plate and the tint. Figure 87 
shows a key plate printed on a solid tint background, 
a very simple form of two-color work. In this, the 
drawing consisted only of the portion which is shown 
black and a fine line outline around the black drawing 
to indicate the size of the tint. This line was removed 
from the black plate. Figure 89 shows the black plate 
printed over the tint, with highlights and tint plate 
showing through the black key plate. The drawing 
for this was made in the same manner as for Fig. 87, 
except that an indication was given to the en¬ 
graver as to where the tint should appear, by either 
coloring the drawing in the required portions with a 
light blue wash or by an indication on a tissue paper 
overlay with the same instructions on it. Mention 
was made of indicating on your drawing by painting 
with light blue paint or stain. This color of course 
should be transparent, so that it does not cover any 
of the black line. The blue does not photograph in the 
process of making the plate, and serves only as an indi¬ 
cation from the artist to the engraver of some portion 
of the plate which is to be treated in a special man¬ 
ner, as is suggested in the chapter on Ben Dav 
tints. In that case, the blue indicates where a Ben 
[140] 


DRAWING FOR COLOR REPRODUCTION 

Day screen is to be laid. If two different and dis¬ 
tinct tones of blue are used, and a key or schedule 
accompanies the drawing, indicating that one tone is 
to be of a certain pattern and the other is to be of some 
different design, the engraver immediately knows what 
portion of the drawing receives the intended treat¬ 
ment. In preparing black-and-white drawings for 
color work that is not too complicated, several differ¬ 
ent colors may be indicated on the black-and-white 
drawing by the use of as many different tones of blue. 
Where flat tones of color are used, the engraver 
makes as many prints as there are color plates in 
the set, one plate for each printing color. These 
are all prepared from the same negative, so that 
when the final series of plates are completed 
they will all be of an exact size and will fit or 
register perfectly. It is possible for the engraver 
to produce these plates in flat colors from your 
black-and-white drawing, provided he receives clear 
and comprehensive instruction as to just where the 
colors should fall. At this point it might be well to 
give the student some information as to some of the 
things not to do. For example, in Figs. 87 and 89, if 
you desire the ultimate result as shown printed, don’t 
paint your drawing in orange as you expect the fin¬ 
ished proof to be, and expect the engraver to make the 
black plate, for the orange photographs almost as deep 
as the black; consequently you would get a black 
square; use blue for vour indication. If you wish to in- 

[14O 


COMMERCIAL ART 


dicate the exact colors in the relative position they will 
occupy, do this on a tissue paper overlay on the black 
drawing. In your instructions to the engraver do not 
fail to explain clearly just what is wanted. This can be 
done on the tissue paper flap over the black draw¬ 
ing; treatment of the different parts should be clearly 
indicated. It is always well to be very clear and 
explicit in your directions, leaving nothing to the 
imagination. In cases where the key plate contains 
considerable small detail, portions of which are printed 
in the tint with the surrounding portions left white, 
the term “hair-line registration” is applied. This term 
gets its name from the need for extreme care that must 
be taken in making the plates and in registering the 
plates on the press, in order that the color may fall 
exactly within its bounds. 

As the student should always be on the alert to 
avoid getting into difficulty, it is well to try to design 
your color work with as little hair-line registration as 
possible. This of course is not always practical with¬ 
out impairing the effectiveness of the drawing, but it 
is well to avoid any unnecessary complication. In Fig. 
89 the solid portion in which you see the orange let¬ 
tering is not considered as hair-line registration, be¬ 
cause of the fact that the black plate “overprints” a 
solid orange plate of a slightly smaller size and the 
orange lettering is effected by white lettering in the 
black plate. The aeroplane at the top of Fig. 89 is 
considered a hair-line registration because of the fact 
[142] 


DRAWING FOR COLOR REPRODUCTION 



Fig. 87. 

Aside from printing a single cut in one color , the, most simple 
form of two-color work is that of printing a complete illustra¬ 
tion on a solid tint background. From the standpoint of the 
artist, engraver and printer , this is the least expensive. The 
artist makes his drawing as he would a one-color drawing, the 
engraver cuts a tint-block to fit without etching it , and the 
printer has no hair-line register to contend with. 


Fig. 88. 



[143] 
























COMMERCIAL ART 


that in several instances the orange is bordered by only 
a thin line of black. 

There are many ways of producing these drawings, 
as you may know and will discover later, but the 
method of working from black-and-white drawings 
with tissue paper overlay with color indicated thereon 
is the favorite for the beginner. Otherwise he is apt 
to become involved, before the completion of his work, 
to such an extent that it may be necessary to discard 
the drawing and start a new one. 

Remember that in making drawings for color 
work, where black-and-white originals are employed, 
you do not use on your drawing the color that you 
expect the plates to be printed in. You merely make 
a comprehensive chart, and outline or indicate where 
the colors should appear, and the engraver does the 
rest. This is the reason why so many original draw¬ 
ings for color reproductions appear so different from 
the result that is finally obtained. Yet a close study 
of the mechanics of engraving will show you why this 
must be. The matter of color harmony and printing 
in color is a subject which should be studied very care¬ 
fully. Color is being used more each day, where it is 
practical, for, by the use of colors, reactions and effects 
may be obtained that would be entirely impossible in 
the black and white. Naturally, reproduction in color 
is more expensive than in black and white, and this 
fact curtails the use of color in many cases. In other 
instances, as in newspapers and some other publica- 
[ 144 ] 


DRAWING FOR COLOR REPRODUCTION 



Fig. 89. 

Illustrating a simple form of two-color plates. The original 
was made as a “black and white ” and instructions issued to the 
engraver to make the lettering in orange and with an orange tint 
under the aeroplane. The orange lettering was made by running 
an orange tint under the entire black background through which 
the white lettering appeared. The color on the aeroplane also 
exists under the black. 


[145] 


COMMERCIAL ART 





No. 1 


No. 2 
Fig. 90. 


No. 3 


The illustrations shown on pages 146 and 147 are examples of 
a few of the many possible combinations to be had from one 
black-and-white drawing. The “ black-and-white” shown in 
Fig. 91 at the lower left-hand corner is an exact reproduction 
of the original from which all of these 
various combinations were made. In 
each case , all that was necessary was a 
tissue flap over the “black and white” 
with instructions to the engraver. By 
way of explanation , some of the instruc¬ 
tions were as follows: For No. 1, 
li orange border , solid tint on face , rib¬ 
bons and head band , Ben Day tint on 
head gear.” For No. 2, 11 black border 
lines of background in tint , headgear 
solid tint.” For No. 3, “black border , 
cut lines of background with one-way 
£)$-line screen , lines of headgear solid 
orange , solid orange tint under black 
for ribbons and band , \ 00-line Ben Day 
tint and black on face.” 



Fig. 91. 

























Fig. 92 . 

Figure 92 shows further possible combinations. A, B and 
C indicate treatments to be avoided wherein the balance of color 
values is unsatisfactory. Observe that in cases where the key 
plate does not carry enough strength of detail , the result is weak , 
and lacking in color harmony. 


[147] 






























































COMMERCIAL ART 



Fig. 93. Two-Color Zincs. Bf.n Day Used for Tint. 

Illustrating a tzvo-color specimen , with Ben Day used on the 
tint plate only. Two tones of Ben Day were used to get the 
two distinct values. This type of two-color work is not difficult 
to print as the green tint extends back of the black. The original 
drawing zvas made twice the size of this reproduction. 


[148] 


DRAWING FOR COLOR REPRODUCTION 



Fig. 94. “Black and White,” for Two-Color Zincs. 

Above is an exact reproduction of the original drawing re - 
duced one half. The circle outlining the moon , border lines , and 
line of the horizon were made to guide the Ben Day operator 
where to lay his screen. After the pattern was laid , the lines 
were eliminated on both plates as is shown on the opposite page. 
Information was given to the engraver , by attaching a rough 
sketch of the color effect desired. 





COMMERCIAL ART 


tions, it is impractical to use color because of the me¬ 
chanical difficulty. Then we must content ourselves 
with black and white. The printing of color plates on 
white paper is very simple from the standpoint of judg¬ 
ing what the effect will be, but the use of the same plate, 
printed in the same colors, on variously tinted or col¬ 
ored paper renders an entirely different effect, and re¬ 
quires a thorough knowledge of its possibilities. There 
are many text-books on the use of color in printing, color 
harmony, and color combinations, which it would be 
well for the student to become thoroughly conversant 
with as an aid to his career as a colorist. However, 
in this text we take up the production of drawing only, 
for color work, and leave the selection of colors and 
color combinations for another time because of the lack 
of sufficient space to cover such a tremendous field. 

It is not advisable for the student to endeavor to 
produce color work of too complicated a subject until 
he is thoroughly familiar with the making of draw¬ 
ings for black-and-white reproduction. However, 
there are certain types of color work that can be done 
very simply and very effectively. By the association 
of such simple subjects the student will develop his 
own resources and inventive powers and be able to 
develop quite rapidly. 


DRAWING FOR COLOR REPRODUCTION 



Fig. 95. Three-Color Zincs. Ben Day Used on Two-Tint 

Plates. 

Illustrating a three-color set with Ben Day on the two tints. 
Solid green was used for the foliage with a Ben Day screen for 
the sky and water. The tree trunk carries a Ben Day on the 
orange plate. The strip at the base of the tree that appears to 
be a tone of brown was obtained by a Ben Day on both the green 
plate and the orange plate. The bills of the birds are in solid 
orange. 














COMMERCIAL ART 



Fig. 96 . “Black and White” for Three-Color Zincs. 

Showing a reproduction of the line drawing as it went to 
the engraver. Observe that in this drawing the entire compo¬ 
sition is for?ned with lines, and there are no solid blacks ; conse¬ 
quently a border line is not out of harmony , as would have been 
the case with the picture on pages 148 and 149 . No lines were 
eliminated from the original copy; each line served as a part of 
the picture as well as a guide for “tint laying 


[152] 







DRAWING FOR COLOR REPRODUCTION 



Fig. 97. Three-Color Zincs. Solids and Ben Day Used 
on Two-Tint Plates. 

In this illustration “ solids” in all three colors play a very 
important part. Ben Day screens were used in both the green 
and orange plates. This makes a very effective type of illus - 
tration , because of its contrasts. Notice how much the white 
sleeves on the elf contribute to the contrast; place your finger 
over this part and see for yourself how much “snap” the picture 
loses through its absence. 


[03] 



COMMERCIAL ART 



Fig. 98 . '‘Black and White” for Three-Color Zincs. 

Above is a reproduction of the drawing , done in 11 black and 
white” as it was received by the engraver. Again in this sub¬ 
ject the guide lines shown on the original were removed on the 
finished plates. The 11 solids” would not permit the use of small 
lines for a border , as would the example on pages 151 and 152 . 

Engraver's instructions in this case were furnished in the 
form of a carefully made “color rough.” 


[154] 








DRAWING FOR COLOR REPRODUCTION 



Fig. 99. Two-Color Zincs. Solids with no Ben Day. 

Frequently drawings are made for one-color reproduction 
and later the customer will decide to add a second color to his 
printing with the request, that the illustration he treated accord¬ 
ingly. The element of time will prevent the 7 naking of a new 
drawing for the purpose; however, in most cases it is a simple 
matter to prepare your present drafting for a suitable reproduc¬ 
tion in color. Notice the absence of the sky and border, which 
were on the original shown in Fig. 100. In this case it was a 
requirement of the customer and was accomplished by a simple 
notation on the tissue flap over the drawing. 


[155] 




COMMERCIAL ART 



Fig. 100. “Black and White” for Two-Color Zincs. 

Figure loo shows a reproduction originally made to appear 
in one color, hut upon re guest for the addition of a second color 
the procedure was as follows: A tissue flap was attached over 
the drawling and the portion of the subject to he printed in the 
tint was indicated thereon. By the use of the tissue flap many 
trial color schemes can he made before a final decision is arrived 
at, without impairing the reproductive gualities of the original 
drawing. 







DRAWING FOR COLOR REPRODUCTION 



Fig. 101. Three-Color Zincs. Solids with no Ben Day. 

A three-color specimen with all colors done as “solids ” made 
from one “black and white .” The original drawing “carried” 
only the black plate , and made, as explained in the previous 
pages , for black-and-white reproduction. Many effective treat¬ 
ments can be produced by experimenting with colors on a black- 
and-white “proof.” It is suggested that you secure several 
engraver s proofs of a suitable subject you have drawn and try 
your skill at color combinations. 





COMMERCIAL ART 



Fig. 102. “Black and White” for Three-Color Zincs. 

Above is the reproduction of the 11 black and white” used to 
produce the three-color poster effect shown on page 157. It is 
advisable , in many instances , when zvorking out a complicated 
“color” to order a “silver print” or photostat , made of your 
subject , upon which you can produce the color sche??ie you desire. 
This will permit you to furnish a very definite and concise guide 
to the engraver. 






DRAWING FOR COLOR REPRODUCTION 



Fig. 103. Duotone. 

Many subjects can be reproduced by the duotone process 
quite successfully , especially in cases where the subject is quite 
pronounced in any one color. In a landscape wherein the trees 
predominate , the black plate will carry the body and mass of 
the picture and green used is as the second color. In the case of 
a sunset casting a red tint over all objects , again black is used 
as the key but is superimposed over red. 





COMMERCIAL ART 



Fig. 104. Red Plate for Duotone. 


Considering the fact that the type matter which is used in 
conjunction with the picture is in black , the duotone necessitates 
but one extra press run. In all color printing the, true color of 
the inks can be maintained through use on white paper only. It 
is not meant that color printing on colored paper is not success¬ 
ful , but on the contrary, many of the most pleasing effects are 
obtained in that way. The artist should take into consideration , 
however, the color of the paper and choose ink that comple¬ 
ments it. 





DRAWING FOR COLOR REPRODUCTION 



Fig. 105. An Example of Four-Color Process Plate 
Making. 

The three colors used in half-tone process color work are: 
Yellow , red and blue. With these, three primary colors with the 
addition of black it is possible to produce almost any secondary 
color. 

In the preparation of the drawing for this type of plate 
making , the artist paints his picture in full color. 

The 11 copy" from which the above was made contained all 
the colors shown in the finished reproduction. The separation 
of colors was done photographically by the use of color filters. 
By a careful study of each of the color plates you will observe 
how each color forms itself in varying tones. Inspect the repro¬ 
duction on this page with a powerful magnifying glass and note 
the dots on each of the color plates , and how the secondary 
tones are formed by their combination. 









COMMERCIAL ART 


#• 





VC 




Fig. 106. 





Fig. 107 
[162] 














DRAWING FOR COLOR REPRODUCTION 


ft 



Fig. 108. 



Fig. 109. 

[163] 






COMMERCIAL ART 





Fig. i i o. 



Fig. ill. 
[164] 















DRAWING FOR COLOR REPRODUCTION 


Fig. 106. 

The yellow plate is made by photographing the picture 
through a violet filter , while the red plate is obtained by using 
a green filter. It is necessary in most cases that a great deal of 
hand work be done on each plate to produce the best results; 
this accounts for the increased expense in this class of plate 
making. 


Fig. 108. 

When the red plate is printed over the yellow plate the 
result is as Tig. 108. In printing color process plates , much 
care must be exercised that they register perfectly , otherwise 
the result will not be pleasing. The blue plate shown as Fig. 109 
is produced by photographing the picture through an orange 
filter. 


Fig. 110. 

Printing the blue plate over the yellow and red reproduction 
shown in Fig. 110 completes the three-color set. Many pic¬ 
tures are reproduced in three colors alone and some very suc¬ 
cessful results are obtained; however , the addition of the fourth 
plate , or black , adds strength and sharpness to the detail and 
supplies grey tones not possible with the three primary colors 
alone. Four-color process plates are as a rule printed as follows: 
Yellow , red , black and blue. 


COMMERCIAL ART 



Fig. 112. 

Figure 112 shows the three colors in their full strength , used 
for printing process plates. The arrangement of the discs , over¬ 
printing each other , further illustrates the color combinations to 
be had by superimposing one color above the other. 


[166] 


DRAWING FOR COLOR REPRODUCTION 



Fig. 113. Ben Day. 


Figures 113 and 114 show several torie values to he obtained 
through the use of Ben Day screens of varying density. Study 
Figs. 115, 116, 117 for color value of the various Ben Day 
patterns. 



Fig. 114. 

C167] 




COMMERCIAL ART 



446 505 532 533 


Fig. i 15. 
{168] 





















































DRAWING FOR COLOR REPRODUCTION 







07 


327 



511 


512 


437 


517 


•VA:V/.\V^VAV.V,V*; : ';.' 


mm 


446 



532 


533 


Fig. 116. 

[169] 

















































































COMMERCIAL ART 



446 


Fig. 117. 


[170] 


505 


532 


533 
























































DRAWING FOR COLOR REPRODUCTION 


Fig. 115. 

The purpose of printing the Ben Day patterns in various 
colors is to acquaint the student with the value of tone of each 
pattern zvhen a different color is used. 


Fig. 116. 

Notice in using yellow on the Ben Day how the darker pat¬ 
terns increase in depth while the lighter ones lose a certain 
amount of their strength. 


Fig. 117. 

The relative tone values of Ben Day screens, in varying 
colors , should be considered in the selection of the pattern , as 
much depends on their proper relation to each other. 


GLOSSARY OF WORDS AND TERMS USED IN THE 
PHOTO-ENGRAVING BUSINESS 

Adopted by the American Fhoto-Engravers Association * 


Aberration—Convergence to differ¬ 
ent foci. Term used to denote 
faulty or incorrect focus of lines 
and colors. 

Achromatic—Without color. A lens 
which refracts light of all colors 
equally is said to be achromatic. 

Acid Blast Etching—A process for 
the mechanical etching of photo- 
engraved plates. 

Acid Blast Machine—A mechanical 
contrivance in which an etching 
solution is driven by powerful 
blowers through a system of 
sprayers arranged in the base of 
an acid chamber and directed into 
the surface of the plates held in 
an inverted position against the 
spray in the upper part of the 
compartment. 

Actinic — Chemically active but 
mostly invisible light rays as dis¬ 
tinguished from visual rays. The 
rays which act upon photographic 
emulsions. 

Air Brushing—A method of placing 
smooth, tint surfaces on a photo¬ 
graph or wash drawing by an in¬ 
vention by which a liquid pigment 
is blown in a spray through a tool 
by aid of compressed air. 

Anchoring—Fastening plates on to 
wood blocks by metal columns 
through the back of block. 

Aquarelle—French word for a water 
color painting made in tints of 
pure color, without the use of 
white or other body color. 

Autochrome—Lumiere plate used 
for making photographs in natural 
colors. 


Backing Up—Covering the back of 
a photographic plate with an 
opaque, light-absorbing medium, 
to reduce halation. Also, a metal 
backing soldered to printing plates 
to make them n points (0.152") 
thick for use on patent blocks or 
printing bed bases. 

Base—Synonymous with block. 

Bassani—The name of the inventor 
of apparatus applicable to a proc¬ 
ess camera by which the halftone 
screen may be decentralized and 
rotated during exposure. 

Bearers—Excess metal around or 
within the printing area of a plate. 
Also called dead metal. Also 
strips of metal sometimes placed 
at sides of plate when hand inking 
and proofing. 

Ben Day—A method for laying tints 
(composed of dots, lines and other 
textures) on negatives, metal 
prints or copies. Ben Day was 
name of inventor of process. 

Ben Day Plates—Plates made by lay¬ 
ing tints on copper or zinc and 
etching them to produce textures, 
colors or combinations of colors 
when printed. 

Bevel—Machined straight edge mar¬ 
gin of plate used as flange for 
mounting plate on block. 

Beveling—Plates that are rectangu¬ 
lar are put on beveling machine 
making an eighth of an inch chan¬ 
nel, this being used to nail plates 
on wood. Black and white lines 
are also put on plates with this 
machine. 

Bite—Trade term for etching on 
metal plate. 

of The American Photo-Engravers Association. 


Copyright and reprinted by permission 

C172] 


GLOSSARY OF WORDS AND TERMS 


Black and White—Term used to 
distinguish between monochro¬ 
matic and polychromatic subjects. 

Black and White Line Finish—A 
fine black finish line separated 
from the edge of the halftone by 
a white line of equivalent 
thickness. 

Bleach Print—A silver print used as 
a basis for a pen drawing. The 
photographic tones being readily 
bleached out by the application of 
bichloride of mercury or other 
bleach. 

Bleed—Area of plate or print ex¬ 
tending beyond edge to be 
trimmed. 

Block—Wood or metal base on 
which plate is mounted. 

Blocking—Fastening the plate upon 
a wood base. 

Blocking Flush—Trimming block 
flush on top, bottom, sides or all 
around, so that printing surface is 
flush with the block. 

Blue Print—A sensitized photo¬ 
graphic paper yielding a blue and 
white print upon development; 
also trade name for a stained blue 
unburned print on metal. 

Border—Finishing line or design on 
plate. 

Burr—Metal turned up above print¬ 
ing surface by routing cutter or 
other tool. 

Burnishing—To rub plate with pol¬ 
ished steel burnishing tool to 
darken printing area of plate, by 
spreading dots. 

Camera—Light-tight box, consist¬ 
ing usually of front and rear ele¬ 
ment joined with bellows, and 
provided with means for attach¬ 
ing lens at front end and plate- 
holder at rear end. 

Chalk—Magnesium carbonate in 
block or powder used to fill in 
etched areas of plate to show 
tone values. 

C. P.—Abbreviation for “Chemi¬ 
cally Pure.” 

Chewed—Shop term for the ragged 
effect of the lines of a plate 
caused by acid working through 
an imperfect protection. 


Chromium Plated—Printing Plates 
upon which an electrolytic deposit 
of chromium has been made to 
provide greater wearing qualities. 

Circle—Term denoting shape to 
which plate is to be cut. (Plates 
so ordered should carry clear in¬ 
structions as to finish—such as— 
no line, hairline, no white, hair¬ 
line, fine white inside. “Special 
line” should be accompanied by 
sample.) 

Coated Paper—Paper having a 
wood-pulp or rag base, coated 
with clay composition on one or 
both sides. 

Cold Enamel—Bichromated Shellac 
or other colloid. An acid resist 
photographically applied to metal. 
Does not require heating or burn¬ 
ing in. 

Collodion—Pyroxylin (nitrated cot¬ 
ton) dissolved in alcohol and 

< ether. 

Collodion Emulsion—Collodion con¬ 
taining silver haloid in suspension. 

Collodion, Negative—Collodion con¬ 
taining haloid salts used for wet 
plate photography. Requires sen¬ 
sitizing in silver bath. 

Collodion, Stripping — Plain col¬ 
lodion containing castor oil used 
for coating wet plate negatives to 
strengthen film before stripping. 

Color Artists—The term applied in 
some localities of the photo¬ 
engraving industry to designate 
Film-Layers or those skilled in 
the laying of tints from the Ben 
Day or similar patterns. The 
more fitting designation is Ben 
Day Artists and the work of their 
department is generally known as 
Ben Day work, although in many 
cases it may not involve the ac¬ 
tual laying of tints, some classes 
of work being largely of a solid 
color nature involving the “paint¬ 
ing in” incident to the separation 
and diversion of a color scheme 
into a number of color plates. 

Color Filter—A colored substance 
such as glass, dyed gelatine or 
colored solution, used to absorb 
certain colors and transmit others. 

Color Guide—Graphic instructions 
for color rendering or placement. 


GLOSSARY OF WORDS AND TERMS 


Color Proofs—Proofs of color plates 
combined and registered. 

Color Proofs—Progressive—Single 
proofs of. each plate of a color set 
and combined proofs showing re¬ 
sult of each successive color 
printed and assembled in printing 
sequence. 

Color Separation — Separation of 
colors in negative making by 
means of color filters, and in plate 
making by means of drawing upon 
the plate with acid-resisting paint. 

Color Work — General term for 
color plates to print in two or 
more colors. 

Color Work—Ben Day—Any Ben 

Day plate used in conjunction with 
a color set.- 

Color Work—Process — A set of 
two or more halftones made by 
photographic color separations. 

Combination Plate — Halftone and 
line work combined on one plate 
and etched for both halftone and 
line depth. 

Combination Plates—Color—Plates 
made by the use of a key plate 
and color plates, either halftone 
or line, to be printed in two or 
more colors. 

Complementary Colors—The com¬ 
plement of any color is the com¬ 
bination of the other colors 
completing the spectrum. 

Connected Dot—Halftone dots in 
negative or plate which are joined 
together. 

Contrast—The quality of an illus¬ 
tration possessing a wide differ¬ 
ence in tone values. One in which 
the highlight and shadow tones 
are strongly in evidence. 

Copper Etching—The act of etching 
a copper plate. Also an etched 
copper plate. 

Copy—The original, be it photo¬ 
graph, drawing, painting, design, 
object or anything that is in proc¬ 
ess of reproduction for printing 
purposes. 

Crop—To cut off an edge or trim. 

Cross-Hatch—A series of parallel 
lines crossed with others at any 
angle. 

Cross-Line Screen—Halftone screen 
having lines crossing at right 


angles as distinguished from 
straight line screen having no 
cross-line. 

Curved Plate—One that is backed 
up and curved to suit the cylinder 
of a rotary press. 

Cut — An obsolete synonym for 
photo-engravings or plates. Orig¬ 
inally referred to as wood cuts. 

Dead Metal—Excess metal around 
or within the printing areas of a 
plate. Also called bearers. 

Deep Etch—Sinking or “running 
down” the open parts of a photo- 
engraved plate to acquire the 
necessary printing depth. 

Deep Etching—Bites additional to 
the first bite given line plates or 
coarse screen halftones. 

Detail—Minute or specific subdivi¬ 
sions of an image. 

Digging Out — Removing small 
places in metal plate with hand 
tools. 

Dimension — Width of an image 
measured horizontally or depth 
measured vertically. 

Dimension Marks—Points indicated 
on a copy outside the area of the 
image to be reproduced, between 
which size of reduction or en¬ 
largement is marked. 

Direct Halftone — A halftone for 
which the screen negative is made 
by direct exposure of the article 
itself, and not from a photograph 
or drawing. 

Distemper — A form of painting 
done with body colors mixed with 
white and a sizing medium, usually 
a glue size. Commonly used by 
scenic artists for theatrical work. 

Dots (Halftone)—Minute, symmet¬ 
rical, individual subdivisions of 
printing surface formed by half¬ 
tone screen. 

Double Print—Prints from two dif¬ 
ferent negatives occupying fixed 
positions on the same piece of 
metal but not necessarily super¬ 
imposed. 

Drawing—Finished work of the ar¬ 
tist (either by brush, pen or any 
other medium). It is the copy 
from which reproduction is made 
direct. It contains every detail 


[174] 


GLOSSARY OF WORDS AND TERMS 


desired to show in the finished 
photo-engraving. 

Drop Out —When the highlight dots 
of a halftone are etched away 
they are said to be “dropped out.” 

Drop Out Negatives —Halftone 
negatives in which highlight dots 
are so exposed as to prevent their 
printing on the metal. When the 
plate is etched the highlights 
“drop out” and can be deep etched. 
Correct name is “Highlight” 
negative. 

Dry Brush Drawing —A drawing 
made with a brush and only 
slightly moistened India ink, the 
aim being to secure a vigorous 
execution of a character between 
a bold crayon drawing and pen 
work. A difficult and highly dis¬ 
tinctive technique. 

Dry Plate —Photographic plate on 
which light-sensitive film is dry. 

Dry Plate Negative —Term cus¬ 
tomarily used to denote continu¬ 
ous tone negative as distinguished 
from halftone negative. 

Duograph —Two halftone plates at 
different screen angles made from 
one monochromatic copy and 
printed to produce two-tone ef¬ 
fect. Key plate printed in dark 
color, second plate, etched flat, 
printed in light tint. 

Duotype —Two halftone plates made 
from the same negative. One 
etched for detail (Key plate) the 
other flat to print in light tint. 
Unless great care is used in print¬ 
ing, both plates being made from 
same negative, a decided moire or 
screen pattern will result. A poor 
substitute for Duograph. 

Duplicate Plates —Plates made from 
the same negative as the original 
plate. Etched and finished in the 
same manner. 

Electrotype —A plate made by elec- 
trolytically depositing metal — 
copper, nickel, etc., on a mold of 
wax or metal taken from the 
original plate or (wood cut). 

Electrolytic Etching —Electrical de¬ 
composition of metal unprotected 
by the resist. 


Eleven Point Metal —Metal .152" 
thick. Sometimes called heavy 
metal. 

Ellipse —Denoting shape of printing 
surface of a plate. A regular oval. 

Em —Printing term denoting the 
square of the body of type. 12 
point ems are exactly one-sixth 
of an inch (or 12 points) in width 
and depth. Sometimes erro¬ 
neously called “Picas.” One pica 
is slightly less than 12 points. 

Embossing Plate —A plate cut or 
etched below its surface into 
which the paper is forced for the 
purpose of raising the image of 
the printed surface. 

Emulsion —Trade term for sensitive 
collodion having silver salts in 
suspension. 

Enamel —Carbonized glue or shellac 
acid resist. 

Enamel —A sensitized coating 
flowed or spread on the surface of 
a metal plate to receive the image 
by light transference through a 
line or halftone negative. When 
developed and burned in, the 
enamel hardens into an acid resist 
protecting the image during the 
etching process. 

Engrave —To cut, etch or incise a 
surface. 

Engraver —Trade term employed to 
designate the artisans who exe¬ 
cute the hand tool work on a 
plate. (See also Finisher.) 

Engraving —Executing hand work 
on a plate; also a broad term for 
any form of printing plates pro¬ 
duced by hand, photo-mechanical 
or etching process. 

Enlargement —A reproduction larger 
than full size of copy. 

Etched Depth —Distance measured 
vertically from flat printing sur¬ 
face to bottom of etched area. 

Etching —Chemical or electrolytic 
disintegration of metal, also the 
trade name of a printing plate in 
which the picture or design in 
positive or negative form is in¬ 
cised by the action of acid. The 
process of corrosion or disinte¬ 
gration of metal when subjected 
to the action of an acid bath. 


[175] 


GLOSSARY OF WORDS AND TERMS 


Etching Ink—An ink soluble in 
water and containing ingredients 
which combine with powdered 
resin to make an acid resist. 

Etching M a c h i n e—Mechanically 
operated device to agitate etching 
acid and to distribute action 
evenly on face of plate. 

Exposure—Subjecting a sensitized 
plate to the action of light. The 
duration of time of subjection. 

Face—Denotes film side of negative 
or printing surface of plate. 

“Fake” Process—An unfounded and 
obsolete term for halftones printed 
in two, three or four superim¬ 
posed colors, made from mono¬ 
chromatic copy with suitable 
screen angles, the colors being 
constructed by the photo-engraver 
to simulate effect of color separa¬ 
tions. 

Film—A thin body of collodion, 
gelatine or other substance gen¬ 
erally employed as the vehicle for 
a sensitized photographic prepara¬ 
tion. The photographic negative 
or positive. 

Filter, Color — Transparent dyed 
colored substance either dry or 
liquid, for transmission of specific 
colors and absorption of others. 
Used in photography for color 
separation and for transmission of 
specific colors from copy to pho¬ 
tographic plate. 

Fine Line—A thin black finishing 
line enclosing the image on a 
plate. Also called hairline. 

Fine White Line—A thin groove, 
tooled or etched into the printing 
surface of a plate. Also called 
hairline white. 

Finish — Term used to designate 
treatment of outer edges of plate 
such as: square finish, hairline 
finish, vignetted finish, etc. 

Finisher—The artisan who executes 
the final re-etching, engraving, 
tooling or burnishing preparatory 
to final proofing. Properly termed 
engraver. 

Finishing—The final refinement of 
a printing plate and the removal 
of minor defects by hand tooling 
methods. 

[176] 


Fixing—Chemical removal of unex¬ 
posed silver salts from developed 
photographic plate or print to 
prevent further action of light 
thereon. 

Flat—Trade name for metal or the 
glass on which a number of half¬ 
tones or line negatives have been 
stripped or printed or etched. 
The appearance of a picture that 
is lacking in contrast or one pos¬ 
sessing a very narrow or limited 
range of tone values is called flat. 

Flat Etching—The first period of 
etching on a halftone plate 
wherein the entire surface to be 
etched is submitted to the acid 
for a sufficient time to acquire the 
necessary “printing depth.” 

Flat Plate—Etched plate with poor 
contrast—opposite of Contrast. 

Flat Proof—Proof made from fin¬ 
ished or unfinished plate but with¬ 
out make-ready of any kind. 

Floating—A term used to express 
the handling and placing of photo¬ 
graphic films when stripping. 

Flush Blocking—Trimming mounted 
plate and block flush with print¬ 
ing surface. 

Flush Trimming — Trimming un¬ 
mounted plate flush with printing 
surface. 

Focus—The point in the camera at 
which the converging rays of light 
passing through the lens from 
the original coincide to form a 
sharp image. 

Four Color Process Plates—Same 
as the three color process with 
the addition of a gray or black 
plate. 

Free Silver—Silver nitrate solution 
on surface of wet plate. 

Frisket—A paper mask used to 
cover up dead metal or bearers 
when proofing. 

Fuzzy—The appearance of a proof 
due to slurred impressions. The 
appearance of a picture that lacks 
sharpness. The appearance of a 
halftone of irregularly etched dots. 

Gallery—That part of an engraving 
plant . used for making photo¬ 
graphic negatives, ptc. Its equip¬ 
ment. 


GLOSSARY OF WORDS AND TERMS 


Gamboge—A gum, soluble in water, 
used for stopping out areas on 
metal prints preparatory to laying 
tints. 

Glue Top—The burned-in enamel or 
acid resist on a plate. 

Gouache—French word for a water 
color painting made with body 
color, and some kind of size or 
water-soluble gums. 

Grain Box—A cabinet enclosing line 
bitumen dust which, when agi¬ 
tated, and allowed to settle on the 
face of metal and burned in, 
forms a granular resist. 

Grained Plate—A plate etched after 
having been coated with a granu¬ 
lar resist. 

Graver—Tool for doing engraving 
on a plate. 

Gray—A term used to express the 
appearance of a picture lacking in 
brilliancy or rendered wholly in 
middle of low tone value. 

Guide, Color—A sketch or color in¬ 
dication used when making color 
plate from uncolored copy. 

Hairline—The finest line, either 
black or white, which can be 
etched or engraved on a relief 
plate. 

Hairline Finish—A fine black finish 
line in contact with and bordering 
the edges of a square finished 
halftone. 

Halftone—A relief photo-engraving, 
the negative for which has been 
made by photographing a copy 
through a halftone screen. Also, 
the printed impression from a 
plate so made. 

Halftone Dot—An individual point 
of formation in negative or plate, 
characteristic of the halftone 
screen. 

Halftone Negative — Photographic 
negative made by photographing 
a copy through a halftone screen. 

Halftone, Outlined—A halftone with 
the background outside of the ob¬ 
ject entirely cut away, leaving a 
definite edge without shading or 
vignetting—a silhouette. 

Halftone, Outlined and Vignetted— 

A halftone in which part of the 

[177] 


background is cut away and part 
vignetted. 

Halftone Plate—A relief plate made 
by a photo-mechanical etching 
process employing the principle of 
the halftone screen whereby all 
gradations of tone values in the 
copy are reproduced in the plate 
by variations in the formation and 
size of minute dots of geometrical 
arrangement obtained primarily 
in the negative by the interposi¬ 
tion of a cross-ruled screen. 

Halftone Process — The method 
practised for production of half¬ 
tone plates. 

Halftone Screen—A grating of 
opaque lines on glass, crossing at 
right angles, producing transpar¬ 
ent square apertures between in¬ 
tersections. 

Halftone Square Plate—A halftone 
in which the outside edges are 
rectangular and parallel; may be 
with or without single black line 
border. 

Halftone Tint Negative—Negative 
made by photographing one sheet 
of white paper through halftone 
screen. 

Halftone Vignetted—A halftone on 
which one or more of the edges 
of the object are shaded from 
dark tones to pure white. 

Hand Press—Proofing press oper¬ 
ated by hand. 

Hand Work—Tool work or extra 
etching, or any work done on 
copy, negative, print or plate by 
hand. 

Hard Vignette—One not softened 
off to the point of invisibility, but 
exhibiting a delicate but definite 
printing edge. 

Highlight—The light areas of a 
tone copy. The smaller discon¬ 
nected dots of a halftone. Ab¬ 
breviation for highlight halftone. 

Highlight Halftone—A plate made 
from a halftone negative wherein 
the highlight dots have been so 
exposed and etched that they will 
not print on the metal. 

Halftonometer.—A device for meas¬ 
uring the depth between the dots 
of the printing surface of half¬ 
tone plates. 


GLOSSARY OF WORDS AND TERMS 


Image—The picture of the copy 
shown on the ground glass; or the 
concrete reproduction of a copy 
on any medium. 

Insert—Term applied to an extra 
copy, also to negative therefrom 
when the latter is to be inserted 
into another negative before plate 
is printed and etched. 

Inserting—The fitting of one nega¬ 
tive into another or the assem¬ 
bling of a number into a definite 
relationship to each other by the 
accurate cutting and fitting of the 
photographic films. Usually wet 
plate films can be thus advan¬ 
tageously handled. Collodion 
emulsion films can be handled in 
like manner. 

Intaglio—Countersunk or depressed 
image. Incised lines, instead of 
raised or in relief. 

Intaglio Etching—Etching down the 
lines or dots in a plate instead of 
etching down the areas surround¬ 
ing them. The resist for intaglio 
etching is printed from a positive 
instead of a negative. 

Intaglio Print or Proof — Proof 
made from an Intaglio etched 
plate. The ink being rolled into 
the etched lines or dots and wiped 
off of the surface. 

Isochromatic—Same as orthochro- 
matic. Photographic emulsion 
sensitive to blue, green and yel¬ 
low, but not to red. 

Jig-Saw—A narrow thin saw blade, 
vertically mounted between the 
ends of two arms which move up 
and down reciprocally. Used for 
irregular sawing and for mortis¬ 
ing blocked plates. 

Joint—The line or point of contact 
between joined negatives or 
plates. 

Journeyman—Master craftsman who 
has served full period of appren¬ 
ticeship. 

Key Drawing—Copy composed of 
guide lines only. 

Key Plate—The plate of maximum 
detail in a color set, to which 
other colors are registered. 


Kill—To cancel, to discard, as to 
kill a, plate. 

Laminated Wood—-Blocking wood 
consisting of several thin layers 
of wood glued together with the 
grain crossing alternately. 

Laying Tints—Trade term for print¬ 
ing Ben Day or similar tints on 
metal before etching. 

Lens—An assembled arrangement 
of special glass segments 
ground and fitted together to 
form a 'complete unit. Used in 
photographic processes for the 
collection, direction and distribu¬ 
tion of light rays. 

Levy Screen—The halftone screen 
as developed and manufactured by 
Max Levy. 

Light Absorption—The property of 
absorbing light or any of its com¬ 
ponent color waves. 

Light Reflection—The property of 
reflecting light or any of its com¬ 
ponent color waves. 

Line Copy—Any copy suitable for 
reproduction by a line plate. Any 
copy composed of lines or dots as 
distinguished from one composed 
of tones. 

Line Drawing—A brush or pen 
drawing in which all elements are 
of full strength of medium used. 
A drawing free from wash or di¬ 
luted tones. 

Line Engraving—A relief line plate 
produced from a copy without pho¬ 
tographing it through a screen. 

Line Etching—The process of etch¬ 
ing a line engraving. 

Line Negative—A negative made 
from a line copy and suitable for 
use in making a line plate. A 
negative of the same character¬ 
istics made from any copy, but 
without photographing through a 
halftone screen. 

Line Plate—A line engraving. 

Lining Beveler—Machine for bevel¬ 
ing straight edges of plates with 
attachment for tooling straight 
white lines in borders of plates. 

Lumiere—Contraction of “Lumiere 
Autochrome.” A photographic 
plate made by Lumiere Freres 
for direct color photography. 


[178] 


GLOSSARY OF WORDS AND TERMS 


Machine Etching—Applications of 
etching fluid to plate by mechan¬ 
ical means. 

Magazine Standards — Individual 
specifications for the making of 
printing plates to conform to 
special printing requirements of 
publishers. 

Make-Ready—The preparation and 
application of underlay or overlay 
for proofing or printing. Term 
for the sheet with complete un¬ 
derlays and overlays in position. 

Masking—The operation of protect¬ 
ing or blocking out on a, copy 
proof, plate or metal print a defi¬ 
nitely outlined area. 

Mats—Abbreviation for ' matrices, 
papier-mache or composition, 
moulds from relief plates or 
forms. 

McKee Process—A process in gen¬ 
eral terms whereby the make- 
ready is put in the face of the 
electrotype plate. In other words, 
the highlights and shadows are 
taken care of by the varying 
heights of the plate on each. 

Metal Base or Blocking on Metal— 
Mounting a halftone, a line plate 
or an electrotype on metal type 
high. 

Mezzograph — A photo-engraving 
made by photographing through a 
grain screen called a mezzograph 
screen. 

Middle Tones—The various values 
of a copy ranging between high¬ 
lights and shadows. 

Milling—The mechanical operation 
of supplying a bevel to the edge 
of a rectangular or straight edged 
plate or routing away unwanted 
metal. (See “Beveling.”) 

Minimum — Size of plate, below 
which, cost of manufacture re¬ 
mains fixed. 

Moire—A formation of undesired 
symmetrical patterns produced by 
conflict between halftone screen 
and lines or dots of copy. As 
when making halftone from half¬ 
tone proof or from steel en¬ 
graving. 

Monochrome—One color. 

Mordant—An acid bath or corrosive 
liquid employed to etch metal. 


Mortise — Enclosed aperture cut 
within area of plate or block into 
which other printing forms may 
be inserted. 

Mount—The base or block on which 
a plate is fastened to make it 
type high. 

Nailing Machine—Mechanical de¬ 
vice for nailing plates to blocks. 

Negative—Reversal of values, the 
white being rendered black and 
vice versa. Also contraction of 
PHOTOGRAPHIC NEGATIVE. 

N e g a t i v e Inserting—Combining 
negatives by inserting. 

Negative Plate—A line or halftone 
plate which prints negative to 
copy, i.e., with reversed values. 
Such a plate is made by printing 
from a positive. 

Negative Turning—Stripping and 
turning negatives over to reverse 
them. 

Newstone—A halftone, ioo-line or 
coarser, etched on zinc, usually 
for newspaper illustration but 
often used in commercial work to 
be printed on cheap or rough 
papers. 

One Way Screen—A halftone 
screen or plate having lines run¬ 
ning in one direction only, not 
crossing. 

Opaking—Protecting a photographic 
plate or transparent medium with 
a thin non-actinic coating through 
which light cannot penetrate. 

Opaque—A water-soluble paint used 
to block out areas on negatives to 
make them non-transparent. 

Original—Term applied to copy of 
any kind. 

Orthochromatic—Same as Isochro- 
matic. Photographic emulsion 
sensitive to blue, green and yel¬ 
low, but not red. 

Outline Finish—A halftone with the 
removal of all background sur¬ 
rounding or showing through or 
within the outline of an illustra¬ 
tion. 

Outlined Halftone—A halftone from 
which screen surrounding any 
part of image has been cut away. 
A silhouette. 


[179] 


GLOSSARY OF WORDS AND TERMS 


Outlining—Going around a cut-out 
engraving with a No. 6 tint tool; 
it is done as a guide for the 
routers. 

Over Etched—A plate that has been 
submitted to the etching process 
beyond the normal period. 

Overlay s—Part of make-ready 
always used in printing vignettes. 

Overlay Negatives—Superimposing 
one negative upon another to ob¬ 
tain results unattainable by one 
negative. 

Overlay in Proving—Built up or cut 
out sheets used to increase or de¬ 
crease impressions on specific 
areas when printing. Placed under 
tympan sheet over plate. 

Painting In—The protection of defi¬ 
nite areas of halftone or line 
plates by the application of acid 
resisting ink or varnish spread on 
with a brush. 

Panchromatic—S e n s i t i v e to all 
colors. 

Patent Base—Metal, sectional 
blocks with means for holding 
plates for printing. Same as 
PATENT BLOCKS. 

Pattern—Term used to describe an 
engraving which will be used only 
for making electrotypes or other 
moulded printing plates. 

Pattern—The checkered, mottled, 
moire or watered silk effect pro¬ 
duced in halftone reproductions 
from originals possessing screen 
or fine parallel ruled lines. Caused 
by the pattern of the copy cross¬ 
ing or interfering with the lines 
of the halftone screen. 

Pen Drawing—Made by pen and 
India ink, in lines, dots or stipples, 
being a copy purely of black and 
white. 

Phot o—Abbreviation for Photo¬ 
graph. 

Photograph—An image resulting 
from Photography. 

Photographic Negative—An image 
of reversed values, resulting from 
photographic action of light, all 
whites being reproduced as blacks 
and vice versa. 

Photo-Engraving—An etched relief 
printing plate, in the making of 


which one or more negatives or 
positives have been used to pro¬ 
duce the required acid resist. 

Pin-Holes—Small holes in the nega¬ 
tive caused by an over-iodized 
bath or very old collodion. Small 
holes in print or plate from any 
cause. 

Plate—Any piece of metal bearing 
in relief or incised into its surface 
a picture, design or other device 
from which impressions are to be 
made by a printing operation. 

Sensitized glass, either wet or 
dry, used in the camera for pho¬ 
tography. Also a printing plate. 

Plate Holder—Light tight case for 
holding photographic plate in po¬ 
sition on back of camera. 

Plate Thickness — Backing up a 
halftone or line plate to the thick¬ 
ness of an electrotype. (0.152 
inch.) 

Polychromatic—Many colors. 

Positive—An image of the original 
object or copy corresponding to 
same in the scheme of light and 
shade. An image made by an ex¬ 
posure on a sensitized plate 
through a negative in contact. 

Powdering — Application of resin 
powder to sides of relief areas of 
plate to protect them during fur¬ 
ther etching operations. 

Printing—Making impression with 
inked plate or form, also the oper¬ 
ation of making a photographic 
print, or print on metal. 

Printing Depth—The minimum de¬ 
pression in the etched portion of 
a photo-engraved plate necessary 
to insure a workable printing 
quality. 

Progressive Proofs—A set of proofs 
of color plates showing each 
color alone, as well as in com¬ 
bination with each succeeding 
color in printing rotation. 

Proportion—The relationship exist¬ 
ing between the different dimen¬ 
sions of a single object or copy, 
or the relationship existing be¬ 
tween any dimension of object or 
copy and the corresponding di¬ 
mension in enlarged or reduced 

. size. 


GLOSSARY OF WORDS AND TERMS 


Proving or Proofing—Proving is 
taking an impression of the plate 
on paper, after plate has been 
inked up; a finished proof is one 
taken by overlay or underlay, a 
flat proof is taken of plate with 
all waste metal on. 

Press Proof (Cylinder)—Is a proof 
taken on such a press as the Clay- 
bourn, Hacker or the Vandercook. 
The impression is made by rolling 
contact of the plate and paper, 
instead of squeeze contact (like 
that taken on the Washington 
Hand Proof Press). 

Quadricolor—Four colors. 

Quarter Tone—Term used in some 
localities for coarse screen plates 
made by enlarging from smaller 
halftones. 

Reducing Glass—A double concave 
lens for viewing copies in reduced 
sizes. 

Re-Etching—Supplementary etching 
to reduce areas of printing sur¬ 
faces so they will print as a 
lighter tone. 

The work following the flat 
etching of a halftone plate, con¬ 
sisting of staging and further 
etching of different areas of the 
plate to reduce the various tone 
values into proper conformity 
with the copy. 

Register—Correct relative position 
of two or more colors when 
printed from color plates. 

Register Marks—Guides on plates 
to aid in obtaining register dur¬ 
ing manufacture and proofing. 

Relief Plate—Any plate for print¬ 
ing purposes in which the nega¬ 
tive form of a picture is etched, 
cut or sunk into the plate result¬ 
ing in the relief presentation of 
the picture in its positive form. 

Reproduction—The process of du¬ 
plication of pictures, etc., by 
photo-engraving methods. The 
product of the photo-engraving 
process. 

Resist—Protective acid-proof coat¬ 
ing covering printing area of 
plate and leaving parts to be 
etched exposed. 


Retouching — Corrective treatment 
of negative, positive or copy by 
means of brush, pencil, pen, air 
brush or other means. 

Reverse Plates—Plates which are 
negative in tone values to copy. 

Rouletting—Indenting printing sur¬ 
face of a plate with a roulette to 
create or modify tone values. 

Router—The machine on which the 
routing of a plate is accomplished 
by the high speed revolution of a 
cutting tool operating in a mov¬ 
able spindle head. Also one who 
routs. 

Routing—A mechanical means of 
removing the unessential metal or 
wood from any part of a printing 
plate, or lowering the surface of 
such parts that are not intended 
to be printed. 

Saw Tooth Edge—Edge of halftone 
crossing screen line at angle caus¬ 
ing symmetry of dots to break 
into appearance of teeth of saw. 

Scale—A rule of graduated dimen¬ 
sions. A schedule of rates or 
computations. A table of per¬ 
centages. A ratio of enlarge¬ 
ments or reductions. 

Screen—The term used to denote 
the particular ruled screen to be 
used for halftone reproduction. 
Screens are ruled for practical 
purposes from 50 to 200 lines to 
an inch. The coarser rulings are 
used for plates to suit the condi¬ 
tions of newspaper printing, and 
the finer ones for the higher 
printing requirements. The num¬ 
bers between are more generally 
employed to meet intermediate 
conditions. The character of the 
paper and press work, and to a 
certain extent the nature of the 
copy, determine the selection of 
the most suitable screen to be 
used in each instance. 

Screen Angle—The angle at which 
two or more halftone screens are 
crossed to avoid a pattern as in 
color work. 

Screening—Stripping a halftone tint 
negative on a transparent area of 
another negative. 


[181] 


GLOSSARY OF WORDS AND TERMS 


Screened Line Plate—A plate made 
from pen drawing by imposing a 
screen before etching for the pur¬ 
pose of producing a tint effect. 

It has been found convenient to 
use the word “Skiagraph” to 
designate the result of stripping 
a halftone negative over a line 
negative and printing them on 
metal. 

Set-Up—Negatives whether all line 
or all halftone or both, stripped in 
a specified position. 

Set-Up Double Print — To place 
negatives, generally a line and a 
halftone negative on separate 
glasses, with register marks on 
each glass, so that metal printer 
may photo-print both negatives 
on same piece of metal in position 
desired. 

Shading Machine—Device for hold¬ 
ing and adjusting position of 
shading films for laying tints on 
negatives or metal prints. 

Shadow—The part of a picture ob¬ 
scured by lack of illumination. 

The darker areas of any copy. 

Sharpness—The clear, well defined 
appearance of the - image or pic¬ 
ture. 

Shoulder—The projecting ledge on 
an etched plate created by four¬ 
way powdering after the first bite. 

Any similar projection below 
printing surface. 

Silhouette—A halftone from which 
screen surrounding any part of 
image has been cut away or 
etched away. 

Silhouette Finish—A halftone with 
all background surrounding an il¬ 
lustration of simple contour re¬ 
moved from the plate. 

Silver Print—Photographic print on 
paper which has been sensitized 
with silver chloride salts. 

Size—D i m e n s i o n s expressed in 
inches or definite terms on a copy 
is interpreted as indicating the 
desired dimensions of the repro¬ 
duction. 

Sketch—Usually is made in a rough, 
quick way with a pencil, crayon 
or brush, to suggest the compo¬ 
sition or style of a prospective 
drawing, to be completed later. 

[182] 


A sketch (or “layout”) is a pre¬ 
liminary to a drawing, and is 
rarely, if ever, reproduced direct. 

Slug—A hole or tear in negative or 
print or plate. 

Slurred—An impression that is im¬ 
perfect due to indirect pressure. 

Snappy—A term describing a bril¬ 
liant picture of wide contrasts 
and wealth of middle tones. 

Spotting—Removing black or white 
spots on plate. 

Squared—Designating shape of half¬ 
tones all four sides of which can 
be beveled in straight lines. 

Square Finish—A halftone with an 
unbroken screen surface finished 
in rectangular shape with or with¬ 
out border line. 

Staging—Protecting by the applica¬ 
tion of asphaltum varnish or other 
resist such area of a plate requir¬ 
ing no further re-etching, leaving 
those parts of the plate surfaces 
exposed which require additional 
treatment. 

Stain—Image formed by discolora¬ 
tion on copper or zinc print by 
short immersion in weak acid or 
alum bath. 

Stain Print—A print on metal from 
either halftone or line negative 
immersed in acid for an interval 
just sufficient to stain the exposed 
surface. When the print is 
washed off a distinct image is 
shown by the contrast between 
the stained and unstained parts. 
Stain prints are used as the guide 
for the laying of the Ben Day or 
solid tints for color plates. 

Stamping Die—A relief plate en¬ 
graved or cut on brass or zinc 
for stamping book covers or simi¬ 
lar surfaces. 

Stereotype—A plate made by cast¬ 
ing metal into a matrix, used 
generally for newspaper and 
cheap forms of printing. 

Stipple—Generally used in a collec¬ 
tive sense to designate any ar¬ 
rangement of dots of regular or 
irregular formation. 

Stopping Out—Covering areas on a 
negative with opaque to prevent 
light action or on a plate with re¬ 
sist to prevent acid action. 


GLOSSARY OF WORDS AND TERMS 


Stripping—Removing negative or 
positive film from glass prepara¬ 
tory to turning and inserting. 

Sur-Print—A print from a second 
negative superimposed in a defi¬ 
nite manner upon the print of the 
first negative. 

Tempera—The oldest method of ar¬ 
tistic painting. Probably evolved 
from a primitive method in dis¬ 
temper. True tempera is painted 
upon canvas, wood or other sur¬ 
faces prepared with coatings of 
gesso, a mixture of slaked plaster 
of Paris, pure dry zinc white and 
fine whiting (or the whiting 
alone), with a thin size made of 
fine acid-free glue. The colors 
are usually mixed with a medium 
composed of egg yolk or egg- 
white, or casein and body white 
is freely used. Tempera paintings 
have a mat surface, unless they 
are varnished, in which case they 
look like oil paintings. 

Three Color Process Plates—Print¬ 
ing plates produced from colored 
copy, or objects, to reproduce the 
picture or object in its original 
colors by a photochemical separa¬ 
tion of the primary colors, and 
etched halftone plates to repro¬ 
duce each separate color, usually 
printed in yellow, red and blue. 

Three or More Color Halftones—- 
Same as definition of two-color 
halftone, using three or more 
etched halftone plates. 

Tint—A reduction of a solid color. 

Tint Block—A solid plate to be used 
in printing a light flat color. 

Tint Laying—The operation of 
transferring Ben Day tints to 
plates, drawings or other 
mediums. 

Tint Plate—An area of screen, 
stipple, ruling or other patterns 
of an open nature. 

Tooling—Engraving white lines 
with a graver. 

Top—Acid resist on a metal plate 
preparatory to etching. 

Topping Powder—White resin used 
to create acid resist on an inked 
albumen print. 


T r a n s f e r—Ink impression from 
etched plate used to make a dupli¬ 
cate impression on another plate. 

Transparent Proof—Proof on trans¬ 
parent paper. 

Trichromatic—Three colors. 

Trimming—Tooling off projecting 
ledge below printing surface of 
etched plate. Milling sides of 
blocks. 

Two-Color Process Plates — Two 

halftone plates made at different 
screen angles from monochro¬ 
matic or colored copy by the 
photo-mechanical separation o f 
colors or by etching, to approxi¬ 
mately reproduce the copy when 
the plates are printed in two con¬ 
trasting colors. 

Type-High—0.9186 of an inch. A 
plate is said to be “Type-High” 
when it is mounted on wood or 
metal to the proper height to be 
used on a printing press. 

Undercut—The lateral etching of 
the lines or dots in a line or half¬ 
tone plate below the printing 
surface. 

Underlay—Built up or cut out 
sheets placed under plate to in¬ 
crease or decrease impression on 
special areas when printing. 

Upham Attachment—A flat-bed 
press with plate cylinder under 
feed board contacting with im¬ 
pression cylinder. 

Plates are curved by a process 
in which elongation is eliminated. 

Velox Print—Name for one of the 
chloride printing papers made by 
the Eastman Kodak Co. and 
sometimes erroneously used as 
name for similar developing 
papers. 

Vignette—A gradually shaded off 
edge, from dark to light, as on a 
photograph or engraving. 

A halftone with the background 
setting blending into an invisible 
finish. Due to the gradual reduc¬ 
tion in the size of the dots of the 
background as they approach the 
printing edges. 

Wash Drawing—Made by a brush 
in washes with a single pigment 


GLOSSARY OF WORDS AND TERMS 


of black or dark color soluble in 
water, to be reproduced by the 
halftone process. 

Water Color Drawing — Same as 
above, made in washes with a 
combination of several colors. 
Reproduction may be by process 
color halftone plates or by re¬ 
drawing and by combination of 
halftone with Ben Day line plates. 

Wet Plate — Collodionized glass 
plate sensitized with silver nitrate 
and exposed while wet. 

Wet Printing—A term applied to 
one color following another im¬ 
mediately in printing color plates, 
i.e., one impression is made upon 
another before the ink has time 
to dry. 

Plates should be adapted to this 
method of printing whenever in¬ 
formation is furnished as to such 
requirements. 


Wood Base—Wooden block used 
for mounting printing plates. 

Wood Engraving—A printing plate 
in which the illustration is photo¬ 
graphed or drawn on boxwood 
and engraved entirely by hand. 

Working Drawing—A perfected 
drawing of a crudely executed 
idea or preliminary sketch made 
for the purpose of reproduction 
from copy unsuitable for repro¬ 
duction in its original form. 

Zinc—Metal used in Etching de¬ 
partment. Abbreviation for zinc 
etching of line plate. 

Zinc Etching — A .photo-engraved 
line plate on zinc. Action of acid 
on zinc. 

Zinc H a 1 f t o n e—Halftone plate 
etched on zinc. 

Zinc Print—Photographic acid re¬ 
sist photo printed on zinc. 


[184: 




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